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MEMORANDA 



MEMORANDA 



THE RAND-McNALLY 

ECONOMIZER 

A 

GUIDE TO THE 
WORLD'S FAIR 

ST. LOUIS, 1904 

LOCATING AND DESCRIBING THE 
BUILDINGS, STATUARY, PRINCIPAL 
EXHIBITS, AMUSEMENTS ON THE 
PIKE, AND INTERESTING FEATURES 

OF THE 

LOUISIANA PURCHASE 
EXPOSITION 



I Hu si rayed w%th ' Afups 'and-. Diagrams 
of i tie Buildings 



COMPILED BY W. S. WRENN 



CHICAGO : 

RAND, McNALLY & COMPANY, Publishers 

1904 



LIBRARY of OONflfRESS 
Tw» Copies Received 
JUN 16 1904 

Copyright Entry 

>VUu/u a ~ / o^Q 4- 

OUWw & XXc. No. 

8* 4, S* t' 




Copyright, 1904, 
by Rand, McNally & Co. 




LAGOON— Varied Industries Building on the left 



INTRODUCTORY. 

If "seeing is believing," visitors in attendance at 
the St. Louis Fair cannot fail to be forcibly impressed 
by its architectural grandeur, beauty of landscape and 
artistic ensemble. 

Beneath the gilded domes and many-shaped roofs 
of this "Wonder City" are exhibited the world's 
greatest achievements in art, science, invention, and 
manufacture — a comparative showing of the works of 
man, with all that thought and handicraft have 
evolved. 

Advantageously situated and easy of access by un- 
excelled transportation facilities, the "hurry-home 
sight-seer" can most opportunely view the Exposition, 
and with satisfaction, provided he is guided aright 
and has an advance knowledge of "what-to-see and 
how-to-see-it." 

Having the time-saving item in mind, the compiler 
has endeavored to direct the visitor through the 
grounds and various buildings by the shortest route, 
pausing only when features of real merit are pre- 
sented. 

The importance of this method of "doing the Fair," 
will no doubt be appreciated by busy people who are 
desirous of obtaining a maximum of information in a 
minimum of time. 



THE LOUISIANA PURCHASE. 

Perhaps no public man of his day so well under- 
stood, as did Jefferson, the importance and needs of 
that vast domain extending from the Mississippi river 
to the Rocky mountains, and known as the great 
Northwest- Territory. Spain, as the owner of Louisi- 
ana, held supreme control of New Orleans and the 
lower Mississippi. As secretary of state under Wash- 
ington, Jefferson would have been contented with the 
acquisition of the island of New Orleans and the free 
navigation of the Mississippi river. But circumstances 
had now changed — Jefferson was president. Spain had 
suddenly conveyed Louisiana to France, and Napoleon 
was meditating the abrogation of the peace of Amiens 
and the declaration of war against England. Napoleon 
had a property which in case of war he was likely to 
lose. He had resolved on war, and for that purpose 
needed money, which fortunately the American treasury 
could furnish at once. Instead of the Island of New 
Orleans, President Jefferson's dream now embraced 
the whole of Louisiana. Livingstone, then minister to 
France, was unfortunately embarrassed by his com- 
mittal to the acquisition of New Orleans alone; Mon- 
roe had formerly served the country most acceptably 
at the French court and was a devoted friend of the 
president, both politically and personally. They were 
both committed to the "strict construction" theory of 
the Constitution. This narrow view of the instru- 
ment, on which their party had come to power, abso- 
lutely forbade the acquisition of territory by purchase. 
But Louisiana was necessary, not only to the growth, 
but to the maintenance of the Union. The prize out- 
weighed the virtue of party consistency. Jefferson 
himself was forced to admit the want of power, but 
having resolved to act he said : "The less that is said 
about any constitutional difficulty the better." Again 
he said: "It will be desirable for Congress to do 
what is necessary in silence." With these views he 
sent Monroe to Paris. For obvious reasons written 
instructions were avoided ; but it is quite certain that 
unlimited discretion to the minister had resulted from 
a careful comparison of views. It was under these 
circumstances that in 1803 the vast domain known as 



10 



THE LOUISIANA PURCHASE 



the Louisiana Purchase, or "Jefferson's West," was 
obtained by the United States for the paltry considera- 
tion of fifteen million dollars. The transfer of sov- 
ereignty from Spain to France and from France to the 
United States took place at New Orleans, December 19 
and 20, 1803, and for Upper Louisiana at St. Louis, 
March 9 and 10, 1804. Roughly described, this terri- 
tory now embraces twelve states and two territories, 
as follows : Montana, Colorado, Wyoming, North 
Dakota, South Dakota, Minnesota, Nebraska, Iowa, 
Kansas, Missouri, Arkansas, Louisiana, Oklahoma and 
Indian Territory. One hundred years ago the popula- 
tion was about 80,000. To-day it exceeds 15,000,000, 
or about one-fifth of the total population of the Union. 
The territory acquired by the purchase was larger 
than the United States at that time. The purchase 
made possible the extension of our frontier to the 
Pacific Coast. Title was established in 1846 to the 
territory now represented by the states of Washing- 
ton, Oregon, and Idaho. Two years later Mexico 
ceded what is now California, Nevada, Utah, Arizona, 
Western New Mexico and Western Colorado^ Texas 
and a part of New Mexico were acquired in 1845. 
Florida was purchased and Spanish claims to southern 
Alabama and Mississippi were extinguished in 1819. 




JERUSALEM BUILDING 



HOW TO REACH THE EXPOSITION. 

OLIVE STREET CARS (marked World's Fair) — 
from Fourth and Olive streets direct to main en- 
trance DeBaliviere and Lindell avenues. (North 
side grounds.) 

OLIVE STREET CARS (through)— From Fourth 
and Olive streets direct to main entrance DeBali- 
viere and Lindell avenues. (North side grounds.) 

DELMAR AVENUE CARS— From Third and Wash- 
ington avenues direct to main entrance DeBali- 
viere and Lindell avenues. (North side grounds.) 

PAGE AVENUE CARS— From Third and Wash- 
ington avenue direct to Administration entrance, 
Skinker road and Lindell avenue. (North side 
grounds.) 

EASTON AVENUE CARS— From Fourth and 
Franklin avenue direct to The Pike entrance, 
Hamilton and Lindell avenues. (North side 
grounds.) 

LACLEDE AVENUE CARS— From Fourth and 
Olive streets direct to State Buildings entrance,, 
Clayton and Oakland avenues, Cheltenham en- 
trance, Tamm and Oakland avenues, and Agricul- 
ture entrance, University boulevard (Skinker road) 
and Oakland avenue. (South side grounds.) 

TAYLOR AVENUE CARS— From Florissant and 
Newstead avenues direct to all southern entrances. 
(South side grounds.) 

MARKET STREET CARS— From Fourth and Wal- 
nut streets direct to all southern entrances. (South 
side grounds.) 

SUBURBAN CARS MARKED WORLD'S FAIR— 
From Fourth and Elm and Fourth and Locust 
direct to main entrance DeBaliviere and Lindell 
avenues. (North side grounds.) 

SUBURBAN ' MAIN LINE CARS— From Union 
block to De Hodiament via Maple avenue, direct 
to Convention entrance, De Giverville and Mel- 
ville avenues. (North side grounds.) 

SUBURBAN CARS (marked World's Fair)— From 
Kirkwood and Webster Groves and Clayton, direct 
to Administration entrance, University boulevard 
(Skinker road) and Lindell avenue. (North side 
grounds.) 

WABASH SHUTTLE TRAINS— From the Union 
Station, Nineteenth and Market streets, to the 



12 THE EXPOSITION 

main entrance, DeBaliviere avenue and Lindell 
boulevard, every two to five minutes during the 
busier hours of the day. (North side grounds.) 

AUTOMOBILE COMPANIES run automobiles from 
the Union Station and principal downtown hotels, 
leaving every 15 minutes during the day, carrying 
signs of various entrance destinations. 

TALLY-HO COACHES leave the principal down- 
town hotels mornings and evenings, making the 
round trip to the Various entrances on east and 
north sides of grounds. 

THE EXPOSITION. 

Within the boundaries of the Exposition grounds 
are 1,180 acres; the dimensions being one mile wide 
by nearly two miles long, of which area 668 acres were 
taken from Forest Park. The main group of exhibit 
buildings is located in. the northeastern part of the 
grounds upon a nearly level tract of 300 acres. The 
arrangement is not unlike a lady's fan, the main 
avenues, corresponding to the ribs, radiating from a 
central point. The Art Buildings stand upon a plateau 
sixty feet above the surrounding buildings, just south 
of the Colonnade of States and Festival Hall. On the 
lower level are the buildings devoted to Liberal Arts, 
Mining and Metallurgy, Manufactures, Education and 
Social Economy, Varied Industries, Electricity, Ma- 
chinery and Transportation. 

The United States Government Building stands 
upon a hill southeast of the main group, while the 
State buildings are grouped on a plateau extending 
southward to one of the main entrances. Pavilions of 
the foreign countries are west of the "central picture." 
Germany, in order to reproduce a famous castle, se- 
lected a commanding hill site east of the Art Palaces. 
The structures devoted to Horticulture, Agriculture, 
Forestry, Fish and Game, Anthropology and Ethnology 
are all located in the western portion of the grounds. 
Here also are located the exhibits of the Philippine 
Islands, Alaska, and that of the American Indians. 
The Physical Culture Building and the Stadium, a 
great arena and grand stand with seating capacity 
for 25,000 people, are in the extreme western part 
of the grounds. Many methods of transportation, both 
practical and picturesque, are provided for the conven- • 
ience of visitors. They include the intramural rail- 



EXPOSITION NOMENCLATURE 13 

way, traversing the entire grounds, electric automo- 
bile chairs, push chairs, Irish jaunting cars, Japanese 
jinrikishas, electric launches, Venetian gondolas, and 
the new sensational method of transportation, elephant 
and camel riding. 

The intramural railway service reaches every part 
of the grounds. The visitor may take a car at any 
of the several entrances and ride to within easy walk- 
ing distance of any important building. The line first 
skirts the northern boundary, whirling the visitor 
past the Varied Industries and Transportation Build- 
ings, the Foreign Buildings, and then along the north 
side of the Administration Building to the athletic 
field. Here it curves to the southward near the United 
States Government's grass garden and the Philippine 
exhibit, going east of the Agriculture and Horticulture 
Buildings, and winding around the amusement build- 
ings till the Art Palaces are reached. Here it turns 
southward again to the southern boundary of the Ex- 
position, going around the state buildings, and skirt- 
ing the eastern side of the grounds to the main 
buildings again. 

Restaurants, buffets, drinking fountains and lavato- 
ries are numerous and conveniently located, and well 
equipped hospitals under direction of the Red Cross 
Association are a special feature of the arrangements 
made by the Exposition officials for the welfare of 
their guests. 

EXPOSITION NOMENCLATURE. 

ENTRANCES. 

Lindell Boulevard or Main Entrance — DeBaliviere and 
Lindell avenues. (North side.) 

Pike Entrance — Hamilton and DeGiverville avenues. 
(North side.) 

Administration Entrance — University boulevard (Skin- 
ker road) and DeGiverville avenue. (North side.) 

Convention Entrance — DeGiverville and Melville av- 
enues. (North side.) 

County Entrance — Pennsylania avenue and Olympian 
Way. (West side.) 

Agriculture Entrance — University boulevard (Skinker 
road) and Oakland avenue. (South side.) 

South Railroad Entrance — Oakland and Kraft ave- 
nues. (South side.) Used only by Belt Line steam 
railway, and is not a general entrance. 



EXPOSITION NOMENCLATURE 15 

Cheltenham Entrance — Oakland and Tamm avenues. 
(South side.) 

State Buildings Entrance — Clayton and Oakland av- 
enues. (Southeast corner.) 

Government Entrance — Concourse Drive; near cottages, 
used only by vehicles or pedestrians. (East side.) 

Parade Entrance — Triumphal Causeway and Forest 
Park, a short distance south of main entrance. Used 
by automobiles, tallyho coaches and vehicles. (East 
side.) 

LOCATIONS. 

The Plateau of States is that portion of the grounds in 
the southeast corner of the site occupied by State 
Buildings, the territory defined as constituting the 
Plateau of States is bounded on the south and west 
by the outside mining exhibits, and on the north 
by the Government Building. 

The location of the Government Building is known as 
Government Hill. 

The location of the Agriculture and Horticulture Build- 
ings is known as Agriculture Hill. 

The location of the Philippine exhibits is known as 
the Philippines Reservation. 

The space between Varied Industries and Manufac- 
tures is known as the Plaza of St. Louis. 

The space between Liberal Arts and Manufactures is 
known as the Plaza of New Orleans. 

The space between Varied Industries and Transporta- 
tion is known as the Plaza of St. Anthony. 

BRIDGES. 

The bridges are named after explorers famous in the 
history of the Louisiana Purchase region, as fol- 
lows : 

Hennepin — Leading from southeast corner of Manufac- 
tures to Education building. 

De Smet — Leading from main western entrance of 
Mining to Education building. 

La Salle — Leading from southeast corner of Education 
building to Eastern approach of Art Hill. 

Napoleon — Leading from main southern entrance of 
Education building to eastern cascade. 

Jefferson — Leading from main southern entrance of 
Electricity building to western cascade. 

Lewis and Clarke — Leading from southwest corner of 
Electricity building to western approach of Art Hill. 



16 MOST IMPORTANT SIGHTS 

Beinville — Leading from main eastern entrance of Ma- 
chinery to Electricity building. 

Coronado — Leading from southwest corner of Varied 
Industries to Electricity building. 

Crockett — Leading from main southern entrance of 
Varied Industries to Electricity building. 

De Soto — Leading from southeast corner of Varied In- 
dustries to Electricity building. 

Joliet — Leading from southwest corner of Manufac- 
tures to Education building. 
" Daniel Boone — Leading from main southern entrance 
of Manufactures building to Education building. 

BOULEVARDS. 

Commonwealth avenue — A thoroughfare extending 
from the southeast entrance to the Government 
building. 

Colonial avenue — A street leading west from Common- 
wealth avenue at a point near the Indiana building. 

Constitution avenue — A shady boulevard running north- 
west from Commonwealth avenue between the New 
York and Kansas buildings. 

University Boulevard — A central thoroughfare from 
north to south, and upon which faces the Foreign 
buildings. Famous in local history as "Skinker 
Road." 

Olympian Way — An avenue leading west from the 
French building to the extreme western boundary 
of the grounds. 

Administration avenue — A broad walk leading down 
from the terrace of the Administration building, 
through the foreign section and forming a dividing 
line between the exposition proper and "The Pike." 

Transverse avenue — The central space extending from 
east to west between the great exhibit palaces. 

Government terrace— The space between the Liberal 
Arts and Mining buildings and Government Hill. 

THE MOST IMPORTANT SIGHTS OF 
THE EXPOSITION. 

For the convenience of those who desire to visit only I 
the "wonders" of the Exposition, or to condense 
their time at the grounds into several short tours, the 
following attractions are suggested as being the most 
important and interesting: 

I. Cascade Gardens and Festival Hall (by night). 



MOST IMPORTANT SIGHTS 

2. Philippine Reservation, west of Agriculture Hill. 

3. Queen's Jubilee Presents, second floor, west wing 
of Administration buildings. 

4. Exhibit of France (sections 39 to 66) Manufac- 
tures Building. 

5. Exhibit of China (sections 4, 5 and 6) Liberal 
Arts Building. 

6. Exhibit of Pennsylvania (section 41) Mining 
Building. 

7. Exhibit of the Colleges of Agriculture and Ex- 
periment Stations (section 8) Education Building. 

8. The Wireless Telephone (section 23) Electricity 
Building. 

9. Exhibits of Germany (sections 60 to 75) and 
Japan (sections 87 to 97) Varied Industries Building. 

10. The Spirit of the Twentieth Century (Aisle G) 
Transportation Building. 

11. Largest Engine in the World (section 36) Ma- 
chinery Building. 

12. Painting by Le Quense, The Founding of St. 
Louis (section 98, west pavilion) Fine Arts Building. 

13. Exhibit of California (sections 1 to 3 and 9 to 
22) Horticulture Building. 

14. Exhibit of Missouri (sections 6s to 66 and 69) 
Agriculture Building. 

15. Exhibit of New York (sections 11 and 13) 
Forestry, Fish and Game Building. 

16. Exhibit of the Vatican and the Missouri Histor- 
ical Association (second floor) Anthropological Build- 
ing. 

17 Exhibit of the Treasury and War Departments, 
U. S. Government Building. 

18. Buildings of France, England, China and Aus- 
tria (Foreign Reservation). 

19. Buildings of Missouri, Louisiana, Pennsylvania 
and Kentucky (Plateau of States). 

20. Model City Street, near main entrance. 
21 The Mining Gulch, near Maine Building. 

22. Statue, The Apotheosis of St. Louis, near main 
entrance. 

23. Pigmy and Giant Families, department of Eth- 
nology, west of Forestry Building. 

24. The Tyrolean Alps, at extreme eastern end of 
The Pike. 

THE STATUARY. 

Sculpture is a most interesting and striking feature 
of the St. Louis Fair — at no previous exposition has 



18 THE STATUARY 

there been shown so much decorative sculpture of such 
high artistic excellence. The appropriation for this de- 
partment was in excess of $500,000, of which sum 
about one hundred thousand dollars were set aside 
for permanent work, notably that which adorns the 
Art Palaces. Allegorically, the history, or story, of 
the Louisiana Purchase is told by groups and figures 
typical of the successive occupants of the territory. 
As in the drama, each has its part, and at almost every 
turn the vision intelligently locates the various his- 
torical epochs as portrayed by the genius and versatility 
of the sculptor and his art. The wild animal, the red 
man, the intrepid explorer, the pioneer, and lastly, the 
representatives of Spain, France and America, whose 
names are inseparably linked with the acquisition of 
"Jefferson's West," have afforded a wide range of 
ideas, all of which has been employed to a note- 
worthy advantage. Thus, symbolizing activities rather 
than actors, groups of heroic size predominate, and 
portraiture is but moderately employed. Among those 
who have contributed to the sculptural decoration of the 
exposition are the names of many of the most prominent 
sculptors in this country — French, St. Gaudens, Grafly, 
O'Connor, MacNeil, Bitter, Zolnay, Taft, Martiny, 
Konti, Lopez, Niehaus, Dallin, Proctor, Kehmys, Potter, 
Pratt, Bringhurst, Pederson, Borglum, Lukeman, Baur, 
Remington, Tonetti, Gelert, Mulligan, Zimm, Miss Julia 
Bracken, Miss Carrie Wood, Miss Enid Yandell, Miss 
Elsie Ward, Miss Evelyn Longman and others of lesser 
fame. Foremost of these is Karl Theodore Francis 
Bitter, chief of sculpture, a native of Austria. He 
studied sculpture in Vienna, at the Royal Academy of 
Fine x\rts. In 1889, at the age of twenty, he came to 
America and located in New York City. Within a 
year he won in the competition for the Astor memorial 
doors for Trinity church, and soon afterward opened 
a studio of his own. He did the sculpture work on the 
Administration Building at the Columbian Exposition, 
was director of sculpture for the Pan-American Expo- 
sition, and has filled many important public and private 
commissions by work of most creditable character. 

Mr. Bitter's assistant and superintendent of sculpture, 
George Julian Zolnay, is a Roumanian by birth. He 
studied in the school of fine arts at Bucharest and later 
in the imperial academy of fine arts at Vienna. His 
most famous pieces are the Winnie Davis Memorial at 
Richmond, Va., and the bust of Edgar Allen Poe in 
the University of Virginia. He also modeled the 



THE STATUARY 19 

statuary for the Education Building at the Tennessee 
Centennial Exposition and many of the figures for the 
Agricultural Building at the Chicago Exposition. He is 
at present identified in connection with the St. Louis 
School of Fine Arts as an instructor of modeling. 

PLAZA OF ST. LOUIS. 

Apotheosis of St. Louis — This statue, the work of 
Charles A. Niehaus of New York City, is of Louis 
IX. of France, after whom the city of St. Louis was 
named. It shows the saintly king clad in mediaeval 
armor half hidden by his tunic, mounted on a charger 
with flowing caparisons. The king holds by the blade, 
upraised in his right hand, a cross-hilted sword so that 
the cross shows plainly. The handle of the sword, the 
highest feature of the sculpture, is forty feet 
from the ground. The statue occupies a pedestal 
20 feet six inches by n feet 10 inches. At the south 
end of the pedestal, raised only three feet above the 
level of the ground, the sculptor has designed a pedestal 
group made up of three figures entitled "St. Louis and 
Its Guiding Spirits." The central figure, which is of 
St. Louis, is seated and wears the crown and the royal 
robes. In its hands is an unfolded scroll. Winged 
male figures whisper to the seated figure. 

Louis Joliet — An immense equestrian statue of his- 
torical significance, showing the famous Frenchman in 
the garb of an explorer. It was designed by Phinister 
Proctor of New York and occupies a pedestal on the 
east side of the Plaza near western entrance to Manu- 
factures building. 

Ferdinand De Soto — The discoverer of the Mississippi 
river is shown on a superb charger as he appeared at 
the time of his first view T of the "Father of Waters." 
This splendid figure was designed by E. C. Potter of 
New York, and is placed opposite the Varied Indus- 
tries building on the west side of the Plaza. 

Louisiana Purchase Monument — This noble shaft, 
125 feet high, is situated at the southern end of the 
Plaza, facing the Grand Basin and Art Hill. It was 
designed by E. L. Masqueray of St. Louis, and is sur- 
mounted by an heroic figure Peace standing on a 
globe supported by four figures representing the East, 
West, North and South, by Karl Bitter of New York. 
A large rostrum attached to the shaft, about twenty 
feet from the ground, faces the grand plaza. This ros- 
trum is designed along the lines of a pulpit and is 



20 THE STATUARY 

reached from either side by winding staircases. It is 
expected that the most famous speakers in the world 
will address, from this point, crowds massed in the 
grand plaza. To the east and the west of the shaft 
are installed groups of statuary which were designed 
by Chief-of-Sculpture Bitter. The groups to the east 
and west are symbolical of the Missouri and Mississippi 
rivers. A group to the south of the monument repre- 
sents the Signing of the Louisiana Purchase Treaty. 
The figure of Peace, crowning the shaft, calls the 
nations of the world to a peaceful competition at the 
World's Fair. 

GRAND BASIN. 

A Step to Civilization, Buffalo Dance, Cowboy at 
Rest and A Peril of the Plains. These splendid 
pieces placed at the boat landing just south of the 
Louisiana Purchase Monument, were modeled by Solon 
H. Borglum of New York. They tell western stories 
and suggest the early days of the purchased territory. 

Thomas Jefferson — The sculptor's idea has been to 
picture Jefferson as he appeared at the time of the 
promulgation of the Louisiana Purchase. This figure 
is one of rare strength and artistic conception and is 
the creation of Charles Grafly of Philadelphia, vice 
J. Q. A. Ward, to whom the work was originally as- 
signed. It is placed near the bridge which bears Jeffer- 
son's name, and faces the main southern doorway of 
the Electricity building. 

Napoleon Bonaparte — A seated figure and companion 
piece to that of Jefferson. The emperor is shown as 
First Consul at the conference with emissaries of our 
government prior to his decision to part with the 
coveted possessions. It is the handiwork of Daniel 
C. French of New York, arrd ranks as one of his most 
notable works. The location is an admirable one, being 
placed at the south approach to the Napoleon bridge 
which leads across the lagoon to the southern portal 
of the Education building. 

Combat of Grizzly Bears and Sea Lions, realistic 
animal groups flanking the launch landing on east 
shore near Education building, by F. C. R. Roth of 
New York. 

Battle of Bulls and Mountains Lions, animal groups 
flanking the launch landing on west shore near Elec- 
tricity building, by E. C. Potter of Greenwich, Conn. 



THE STATUARY 21 



CENTER CASCADE. 

Fountain of Liberty — A colossal group of three 
figures representative of Liberty, Truth and Justice, 
surmounting a niche from which the rushing waters 
spring. Other groups embroidering the waters of this 
cascade at intervals along its entire length, including 
a magnificent conception entitled Physical Liberty, are 
subjects which refer to the human qualities which em- 
anate from and are fostered by Liberty. The entire 
decoration of the central cascade is the work of H. A. 
MacNeil of New York City, a sculptor of fame, both at 
home and abroad., some of his figures having adorned 
the Electricity building at the Columbian Exposition. 

EAST AND WEST CASCADES. 

Spirit of the Atlantic — The turbulent waters of the 
Atlantic are represented by a powerful male figure 
with a soaring eagle at his feet. It is a gilded figure 
occupying a place at the head of the western cascade 
near restaurant pavilion. 

Spirit of the Pacific — The graceful form of a 
woman at whose feet an albatross is crouched depicts 
the restful calm of the Pacific. It is also gilded and is 
placed at the head of the eastern cascade near res- 
taurant pavilion. 

For the other and smaller groups disposed among 
the rushing waters of the cascades, the sculptor, Isidor 
Konti, of New York, has created an endless variety 
of spirited and appropriate compositions, including 
Boy and Bear Cub, Cupid Holding Fish, Girl 
with Petrel and The Fishers, which are repeated 
on both the east and west cascades. These subjects 
were selected with the intent of symbolizing the fact 
that with the acquisition of the Louisiana region, the 
sway of liberty, truth and justice, illustrated in the 
center cascade, was extended from the Atlantic to the 
Pacific ocean. 

FESTIVAL HALL. 

Apollo and the Muses — This group of unusual 
size represents Apollo surrounded by the muses who 
are shown in the form of centaurs. The chariot in 
which he stands is drawn by two large lions, the 
entire composition being embellished with cherubs and 
female figures. It is placed on the northern side of 
the hall just above the entrance gate and overlooking 
the center cascade. The sculptor, Philip Martiny, of 



THE STATUARY 23 

New York, will be remembered in connection* with 
his work on the Agricultural building at the Columbian 
Exposition. 

Dance, a realistic group flanking Apollo to the 
east, by Michael Tonetti of New York. 

Music, a companion group to Dance and' placed 
on the opposite cr west ledges, by August Lukeman of 
New York. 

Winged Victory, a splendid figure by Miss Evelyn 
B. Longman of New York, crowning dome. 

TERRACE OF STATES. 

In each of the arc-shaped spaces between the col- 
umns is the statue of a draped seated female figure 
symbolic of one of the states or territories carved from 
the Louisiana Purchase and suggesting something of 
its history or industrial achievement, namely : 

Arkansas, by Albert Jaegers. 

Colorado, by Aug. Zeller, Jr. 

Indian Territory, by C. A. Heber. 

Iowa, by Carl E. TefTt. 

Kansas, by Adolph A. Weinman. 

Louisiana, by Rudolph Schwarz. 

Minnesota, by Gustav Gerlach. 

Missouri, by Sterling A. Calder. 

Montana, by Antonin C. Skodik. 

Nebraska, by F. H. Parker. 

North Dakota, by Bruno L. Zimm. 

Oklahoma, by J. S. Conway. 

South Dakota, by L. O. Lawrie. 

Wyoming, by C. F. Hamann. 

Union — Group by Alexander Reul of Closter, N. 
J., surmounting terminal pylon at east end of colon- 
nade. 

Strength — Group by Vinconzo Alfano of New 
York, surmounting terminal pylon at west end of 
colonnade. 

EAST APPROACH TO ART HILL. 

Cherokee Chief, an equestrian statue representa- 
tive of the first owners of the Louisiana territory. It 
was modeled by James E. Fraser of New York, a pupil 
of St. Gaudens. and occupies a place on the first terrace 
at foot of hill. 

Pcre Marquette, by Cyrus E. Dallin of Boston-. 

Daniel Boone, by Miss Enid Yandell of New York. 

Sieur La Salle, by Louis Gudebrod of New York. 



24 THE STATUARY 

William Clarke, by F. W. Ruckstuhl of New York. 

Phillipe Francois Renault, by Sterling A. Calder of 
Philadelphia. 

Meriweqther Lewis, by Charles Lopez of New York. 

Pauiilo Narvaez, by Herbert Adams of New York. 

George Rogers Clarke, by Miss Elsie Ward of New 
York. 

Pierre Laclede, by Scott J. Hartley of Boston. 

WEST APPROACH TO ART HILL. 

Sioux Chief, a companion piece to the Cherokee 
Chief, and placed on the first terrace at foot of hill. 
It typifies another of the Indian tribes which at one 
time held undisputed sway in this country. It is the 
work of Cyrus E. Dallin of Boston. 

James Monroe, by Miss Julia Bracken of Chicago. 

Robert Livingston, by August Lukeman of New 
York. 

F. B. Marbois, by H. Herring of Philadelphia. 

Le Moyne Bienville, by Charles Lopez of New York. 

Anthony Wayne, by Clement J. Barnhorn of Cin- 
cinnati. 

Andrew Jackson, by Louis Potter of New York. 

James Madison, by Miss Janet Scudder of Boston. 

TRANSVERSE AVENUE. 

Destiny of the Red Man — An heroic group placed 
at the eastern end of avenue near Sunken Garden. 
It is a strong composition of five Indian figures and 
that of a huge buffalo, and was executed by Adolph A. 
Weinman of New York. 

Indian Fountain — Located at west end of avenue 
between Transportation and Machinery buildings. It 
typifies the American Indian, with the surroundings 
that he loved best, and is the work of Lorado Taft of 
Chicago. 

Sacaiawea — A small monument erected to the 
memory of the Indian woman who rendered such 
splendid services in connection with the Lewis and 
Clark expedition. This figure is the conception of 
Bruno L. Zimm of New York. 

Pastoral — A reclining figure of much beauty, rep- 
resenting youth in repose, by C. A. Heber of New York. 

The Miner — This composition is one of exceeding 
strength and beauty, depicting the daily life of the 
miner. It was modeled by Charles J. Mulligan of 
Chicago. 



HOW TO LOCATE THE EXHIBITS 



25 



Off the Trail— This spirited group was designed to 
represent the "rough rider," or storied cowboy of the 
west. It is placed near "The Pike" entrance, just north 
of Varied Industries building, and is the handiwork of 
Frederic Remington of New York. 

HOW TO LOCATE THE EXHIBITS. 

If the reader desires to see the Fair in the shortest 
time and in a most thoroughly satisfactory manner, 
he- will follow exactly the routes laid out. It is not 
a case of "the blind leading the blind," but the guid- 
ance of an experienced writer, who has explored, again 
and again, every possible nook and corner of the Ex- 
position grounds. 

Sections in each of the main exhibit structures may 
be readily located by means of the large suspended 
white figures. They are discernible from four sides and 
will serve in every instance as an infallible guide. 

Suppose one desires to see the exhibit of the Sim- 
mons Hardware Co. It is found numbered 10A and 
is located on the central aisle, to which you may pro- 
ceed without confusion. Pursue this method and each 
principal exhibit will pass before your eye, systematic- 
ally and in order. 




IOWA STATE BUILDING 



FIRST DAY. 

Manufactures; Liberal Arts; Mining and Metallur- 
gy; Education and Social Economy; Model City; 
Exhibits and Surroundings. 

Naturally, the visitor will desire to reach the Exposi- 
tion as quickly as is possible. Either steam or electric 
cars are available and may be chosen to suit one's 
pleasure or convenience. Suppose the day dawns 
brightly and the reader has rested well after a long and 
tiresome railway journey. In such case let him board 
a west-bound Olive street electric car. After a pleasant 
ride of from twenty to thirty minutes he will ar- 
rive at the main entrance of the Exposition grounds, 
Lindell and De Baliviere avenues. Alighting here, 
first purchase an admission coupon (price 50 cents) 
at one of the numerous ticket booths, then pro- 
ceed to the turnstile gates through which entrance 
to the Exposition is made. Once inside the grounds 
the "main picture" of the Fair is opened to 
your vision. Breaking the sky line of the southerly 
distance, the majestic Festival Hall and Colon- 
nade of States are seen situated on the hill top just 
above the Cascade Gardens. Of the central group, both 
the Education and Electricity Buildings have frontage 
upon the Grand Basin from the east and west as 
named. Almost at your feet, the Plaza of St. Louis 
stretches away to the Grand Basin, and is bounded 
on the right and left, respectively, by the Varied In- 
dustries and Manufactures Buildings. The first day's 
tour of the exhibit buildings includes those of Manu- 
factures, Liberal Arts, Mining, and Education, the 
entire eastern section of the main group. Move 
leisurely ahead until the Plaza is reached, then turn 
to the left, or south, upon the main eastern avenue. 
With a moment's pause at the statue of Louis Joliet b\ 
Phinister Proctor of New York, the visitor will again 
proceed to the left and pass through the western por- 
tals of the 

MANUFACTURES BUILDING. 

The architecture is of the Corinthian order, with 
imposing sculpture-crowned entrances at the centers 
of the main facades and a large circular-shaped inner 

27 



28 



MANUFACTURES BUILDING 




MANUFACTURES BUILDING 29 

court. It has a frontage on the north of 1,200 feet 
with a depth of 525 feet on the Plazas of St. Louis 
and Orleans. The architects were Messrs. Carrere & 
Hastings, of New York City. Cost, $600,000. 

Statuary — Energy and Force, by L. O. Lowrie, 
massive horse groups flanking main entrances. Prog- 
ress of Manufactures, by Isidor Konti, a realistic 
group which also flanks the main entrances. Victory, 
a figure of rare beauty, by Michel Tonetti, placed over 
main entrances. Neptune and Venus, fountains by 
Philip Martiny, at corner entrances. Two figures 
typical of Manufacture, by L. L. Ameteis, occupying 
ledge near roof line. 

The principal exhibits in this building are : Hard- 
ware, heating and ventilating apparatus, glass, under- 
takers' goods, merchandise in wood and metal, cloth- 
ing, textiles, costumes, embroidery, lace-making and 
needle work. 

Notable Exhibits. 

Sections 67 to 71 — JAPAN — Novel display of rugs, 
draperies and mattings in various colors and patterns. 
Collection of Japanese fans, paper, pictures, orna- 
ments and knic-knacs. Magnificent exhibit of raw 
and manufactured silks. Realistic model of silk 
worm nursery and an operating factory. 

Sections 72 to 76 — ITALY — Noteworthy and interest- 
ing exhibit of statuary in white and vari-colored 
marbles and bronzes. Reproduction of "Pompeii," 
which is highly ornamented with bronze figures and 
vases of antique design. 

Section 14A — Burial caskets of rich design and va- 
rious styles. Funeral cars and monuments. 

Section 14B — Firebrick exhibit of fanciful design, 
showing full-sized boiler plant construction. 

Section iia — Exhibition of the various machines em- 
ployed by a modern steam laundry. 

Section 9A — Sectional view of a 12-pound shrapnel 
shell and a huge block of pine wood showing 66- 
inch penetration of steel rifle bullet. 

Section 9A — Modern steel cage used in penitentiary 
and jail construction. 

Section 9A — Collection of firearms and an illustrative 
exhibit of the penetrating power of the various kinds 
of bullets. 

Section jb — Immense tower built entirely of granite 
cooking utensils. 



30 MANUFACTURES BUILDING 

Section qb — Large roll of wire cable, 10 feet high, 
mounted on a specially constructed wagon. 

Section i — Reproduction of a Spanish hacienda and 
erected wholly of firebrick. 

Section 3B — Front face of three-story building which 
shows the varied uses of structural and sheet 
iron for building purposes. 

Section 2a — Dome-crowned pavilion constructed of 
glass such as is employed in skylights and protected 
windows. 

Section 3A — Model building with modern sanitary 
appointments and equipment. 

Section 6a— Forward section of full-sized steamship, 
as it is coming into dock, loaded with steel ranges 
and stoves. 

Section 6b — Sectional view of two-story dwelling with 
open front, showing desirable method of heating 
homes. 

Section 8b — Model kitchen with complete appointment 
of culinary utensils. 

Section ioa — Old Dutch windmill constructed entirely 
of ax blades manufactured by the Simmons 
Hardware Co. Relief picture made of hardware 
products, entitled "Augur Bit Falls on Chain River." 

Section iob — Large display of tin cans with the pavilion 
as center piece, a huge affair, neatly built of various 
sized cans. 

Section I2b — Beautiful mahogany booth containing a 
large exhibit of rubber goods. 

Sections 30 to 66 — FRANCE — Remarkable exhibit of 
robes and dresses as designed by the famous cos- 
tumers and modistes of Paris. Exhibit of "Ahren- 
feldt" china. Heroic bronze figure entitled "The 
Struggle for Life," by C. Poynoy. Collective ex- 
hibit by the Central Union of Decorative Arts, con- 
sisting of gold and silverware, porcelains, ceramics, 
and cut glassware, which is of rare importance. Col- 
lective displays of tapestries, silks, laces and linens. 
Everything shown in the French section represents the 
highest art of manufacture and should by all means 
be given considerable time. 

Section 29— ARGENTINE REPUBLIC— Display of 
fine leather goods, mosaics and pottery. 

Section 30— PORTUGAL— Walking stick made of 
12,000 pieces of wood. Exhibits of laces, woolen and 
leather goods, silversmith's handiwork and manu- 
factured articles. 



MANUFACTURES BUILDING 31 

Section 31 — HUNGARY — Rare exhibition of ancient 
laces of exquisite handiwork and embroideries many 
centuries old. The exhibit is surrounded by a fence 
of ancient Hungarian architecture. 

Sections 32 and 34 — AUSTRIA — Reproductions of art 
metal ware, bronzes, porcelains, cut glassware and 
carved articles. Special showing of embroideries, 
laces and enamel paintings. 

Sections 36 and 38 — MEXICO — Handsome pavilion 
in which there is shown a magnificent display of cos- 
tumes, statuary, basketry and various articles of 
Mexican manufacture. 

Section 20b — SWEDEN — Industrial exhibit of great 
importance. 

Section 25B — Exhibition of fine headwear for gentle- 
men. 

Section 23A — Beautiful two-story pavilion devoted to 
the sewing machine and its products. 

Section 23B — Navajo Indian blankets of bright hues 
and curios of odd form. 

Section 21A — Elaborate pavilion with large central 
court which is styled "The Court of Costumes," and 
occupied by Butterick & Co., publishers of fashion 
plates. 

Sections 19B, 20A and 20b — Completely equipped shoe 
factory showing the various stages of manufacture 
from raw and unfinished leather to the marketable 
product. Very interesting. 

Section 17B — Exhibition of the various processes of 
tanning and dressing leather. 

Section 22B — Model of an ideal shoe store with 
comprehensive display. 

Sections 22A and 22B — Artistic showing of corsets 
and women's dress accessories. 

Section 24B — Mammoth hair comb and uniquely fur- 
nished booth. 

Section 24B — Knitting machinery in operation. Worth 
seeing. 

Section 22b — Stylishly costumed models in tissue paper 
garments. Very interesting. 
Eastward and just across the Plaza of Orleans, or 

"Grand Concourse," notable because of its use at the 

dedication ceremonies, May 1, 1903, and as the first 

completed exhibit structure, will be noticed the 



LIBERAL ARTS BUILDING. 

As described by its designers, the style of architect- 
ure is a severe treatment of the French renaissance. 
On the main facades, north and south, are three en- 
trances, and on the east and west fagades, two en- 
trances, one in each of the end pavilions. In the 
treatment of the exterior there is a broad processional 
frieze on the interior walls of the exterior loggias, 
which illustrates in allegory, the history of the Louisi- 
ana Purchase. The dimensions are 525 by 750 feet, 
with an area of 9 acres. Architects, Messrs. Barnett, 
Haynes & Barnett, of St. Louis. Cost, $400,000. 

Statuary — Quadriga and flanking groups, by Chas. 
Lopez and F. C. Roth, surrounding Transverse avenue 
entrance. Reclining figures representative of Indus- 
try, by Miss Edith B. Stevens, over main entrances. 
Music, Research and Archaeology, companion groups, 
by George E. Bissel, between supporting arches of main 
entrances. Apotheosis of Liberal Arts, group by Henry 
Linder, installed on end pavilions. Ceramics and In- 
vention, by H. P. Pederson, placed around end pavil- 
ions. Characteristic figures by Chas. Harvey, over door- 
ways and pavilions. 

Entrance is effected through the northwest fagade, 
after an inspection of the magnificent statuary. 

The principal exhibits in this building are : Equip- 
ment and machinery used in the various printing proc- 
esses, photography, books, publications and bookbind- 
ing, equipment for the manufacture of coins and 
metals, mathematical and scientific apparatus and in- 
struments, medicine and surgery, musical instruments, 
theatrical appliances and equipment, chemical and 
pharmaceutical arts, civil and military engineering, 
architectural engineering. 

Notable Exhibits. 

Sections 4, 5 and 6 — CHINA — Historic collection of 
Chinese, Siamese and Corean coins and charms (3,005 
in all), showing specimens of each period from 2255 
B. C. Exhibit of Imperial Chinese postage stamps. 
Ancient manuscripts and books. Specimens of early 
printing. Collective exhibit of costumes, fantastic 
armor, weapons of the days of Confucius, and strange 
musical instruments. Richly carved and inlaid cabi- 
nets, chairs and tables. Unique carvings in wood, 

33 



34 



LIBERAL ARTS BUILDING 



ivory and jade. Models of famous temples and 
palaces. The Chinese section is the most attractive 
feature in this building and is one of the greatest 
sights of the exposition. 




Sections 30 to 32, 40 to 42, and 50 to 52— FRANCE— 
Remarkable display of commercial drawings and en- 
gravings. Specimens of rare volumes and bindings. 
Collective exhibit of the Photo Club of Paris. 
Geodetical map of Madagascar, scale 1-500,000, with 
color engravings. Collection of coins and .nedals 
of the various reigns and periods. Furniture and 



LIBERAL ARTS BUILDING 35 

house fittings in modern and antique designs — "The 
House Beautiful." Notable showing of musical and 
scientific instruments. Electric apparatus for theatres, 
beacons and lighthouses. The entire French section 
is enclosed by an ornamental rail and will afford 
great interest to the sight-seer. 

Sections 50A, 60 to 62, 70 to 72— GREAT BRITAIN— 
Historic photographs from the collection of Sir Ben- 
jamin Stone. Display of the royal mint, including 
many British and Colonial coins, medals, seals, etc. 
Exhibit of the Royal Geographical Society. Public 
demonstrations by Prof. James Dewar illustrating 
the use of liquid hydrogen. Model of the great As- 
souan dam across the Nile in Egypt. Photographs 
illustrating the artificial production of the Aurora 
Borealis. Collective display of musical and" scientific 
instruments, pharmaceutical preparations and chem- 
icals. Equatorial telescope weighing 4,000 pounds. 

Sections 14 to 16, 24 to 26, 34 to 36 and 44 to 46 — 
GERMANY— View of Naples harbor, the largest 
photograph in the world, dimensions 45 x 360 inches. 
Collective display of book, photographs and com- 
mercial drawings. Reproductions of portraits of 
German patriots. Exhibit of the imperial printing 
office. Exhibit of musical and scientific instruments. 
Model of the suspended railway between the cities 
of Bremen, Elberfeld and Vorwintal. 

Section 63 — Model of piano factory at Cincinnati, 
Ohio. 

Section 74 — Historical exhibit of phonographs and 
process of making records. 

Section 53 — Collective display of band instruments. 

Section 63 — Inlaid banjo made of 39,957 pieces. 

Section 247 — Life-size reproduction of the famous 
trade-mark, "His Master's Voice," in 24 karat gold. 

Section 6s — Interesting display of old violins. 

Section 76A — Exhibit showing the manufacture of 
perfumes. 

Section i — Artistic designs of wall paper and coverings. 

Section 23 — Exhibit of the American Society of 
Civil Engineers. 

Section 33 — Specimens of wood from ancient cliff 
dwellings of Arizona and New Mexico. 

Section 54 — Wooden models showing topographic 
features of ocean bars and channels. 

Section 54 — Models, photographs and literature of the 
Chicago sanitary and ship canal. 

Section 33A — Exhibit of the Western Gas Associa- 



36 LIBERAL ARTS BUILDING 

tion showing models of appliances for the manu- 
facture of gas. 

Section 2 — Old manuscripts and books displayed by 
the American Bible Society. 

Section 20A — Large collection of hand printed books. 

Section 54 — Rare atlases, relief maps and geographies 
of the state of Louisiana. 

Section 2 — Handsome pavilion of black oak, containing 
the Rand, McNally exhibit of globes, maps and 
various publications. 

Section 82B — First steam coining press used by U. S. 
Mint in operation. 

Section 12 — Adding and counting machinery. (In- 
teresting.) 

Section 10 — Two-revolution printing presses and block 
casting machine. 

Section 10 — Paper folding and feeding machinery. 

Section 2A — Specimens of lithography as applied to 
commercial purposes. 

Section ii — Japanese printing office. Very interesting. 

Section ii — Type-casting and composing machinery. 

Section 12 — Model engraving plant with complete work- 
ing force. 

Section 75 — Lens polishing and grinding machine in 
operation. 

Section 2A — Collective display of lithographic posters. 

Section 21 — Process exhibit showing publication of the 
"National" Magazine. 

Section 54 — Model of U. S. floating dry dock at New 
Orleans. 

Section 54 — Miniature replica of Mount Vernon, 
Washington's old home on the Potomac. 

Section 5 (center of building) — Reproduction of the 
steel frame lighthouse at southwest pass of the Mis- 
sissippi river. 

Section 64 — Collective display of books, photographs 
and musical instruments of Brazilian manufacture. 

Section 21 — Relief model of the Nile river in upper 

■Egypt. 

Section 53 — Remarkable exhibit of Siamese coins, mu- 
sical instruments, theatrical masks, costumes and 
weapons, (Should be seen.) 

Section 66 — Display of Portugal, consisting mainly 
of musical instruments. 

Section 3 — Collective exhibit of photographs and 
models of the public buildings of Mexico. 

Section 2 — Book-covers (set of 12 vols.) executed 
by hand and valued at $10,000. 



MINING BUILDING 37 

Opposite the Liberal Arts Building to the south, 
and separated from it by a magnificent sunken garden, 
the visitor will now observe the unique and highly 
decorated 

MINING BUILDING. 

This is the largest structure ever provided for 
mining and metallurgical exhibits at an Exposition. 
The entrance presents Egyptian features, but the archi- 
tecture as a whole is an expression of the modern 
renaissance. On three sides the walls are set back 
about twenty feet from the fagade, leaving an inter- 
vening space or loggia, well adapted for certain ex- 
hibits. The base of this fagade or outer screen con- 
sists of sculptured panels illustrating quarrying, min- 
ing and metallurgical operations. The dimensions of 
the building are 525 by 750 feet, and it covers about 
9 acres. Architect, Theodore Link, of St. Louis. Cost, 
$500,000. 

Statuary— T or chb carers, by Theodore Baur, sur- 
mounting domes over main entrances. Mother Earth 
Unfolding Her Jewels, by Charles J. Mulligan, at main 
entrances just above frieze. Iron, Coal, Gold and 
Copper, by F. W. Ruckstuhl, between columns on front 
of building. Frieze around base of obelisks, by Michel 
Tonetti. 

The exterior mural paintings are worthy of notice 
and to many of the Exposition's guests will prove very 
interesting. The north central doorway serves for your 
entrance. 

In this building will be found ores, metals, gems, 
gold, copper, coal, petroleum, clays, pigments, iron, 
steel, tin, zinc and the thousand and one products of 
the mines, also machinery in motion used in connec- 
tion with mining industry. 

Notable Exhibits. 

Sfxtions 12, 22 and 23— BETHLEHEM IRON 
WORKS — Interesting exhibit of ordnance, armor 
plate and steel forgings. Two full-sized models 
of 12-inch steel rifles, rapid firing guns of 3 and 6-lb. 
calibre with several smaller pieces are special fea- 

' tures of this display. The entire group is sur- 
rounded by a magnificent railing constructed of 
cartridges and steel projectiles. 

Section ii — WISCONSIN — Block of ore showing 



MINING BUILDING 39 

pocket and seam of lead mine. Cross-section of 
Baraboo iron mine made of diamond drill cores. 

Section 20 — House of vari-colored pressed brick and 
tile. 

Section 21 — Plaster model of Hadrosaurus and collec- 
tion of extinct vertebrates found in New Jersey. 
Model of clay washing plant. 

Section 31 — Model of Calumet & Hecla stamp mills 
at Dollar Bay, Michigan. Model of rock and shaft 
house at Calumet. Relief map of charcoal blast fur- 
naces, kilns and chemical plant at Marquette. Work- 
ing model of Tamarack rock and shaft house. 

Section 21 — NEW YORK — Cambrian sandstone, 30x11 
feet, showing tracks of prehistoric reptiles, found in 
Clinton County. 

Section 33 — GERMANY — Relief model of mining vil- 
lage, mural paintings of mining scenes. Large col- 
lection of tiles, brick, ores and minerals. 

Section 13 — FRANCE — Collective exhibit of porcelain 
stoves. Huge cylinders of iron. Models of the Loire 
coal basin and mining gallery. Ores, marbles and 
mining instruments of precision. 

Section 23 — CEYLON — Interesting display of devil 
cut stones, rubies and yellow sapphires in both the 
rough and polished state. 

Section 23 — ITALY — Assortment of various colored 
marbles. 

Section 23 — HUNGARY — Colossal bottle of Hunyadi 
Janos mineral water. 

Section 14— ARGENTINE REPUBLIC— Gold nug- 
gets, onyx and mineral waters. 

Section 14A — BRAZIL— Collective exhibit of precious 
stones, gold ore, quartz and asbestos. 

Section 34 — MEXICO — Very large and interesting dis- 
play of minerals and ores. 

Section 44 — JAPAN — Model of the celebrated Kosaka 
smelting and refining works. Model of Manda Pit 
of Miike colliery. Models of Bandai volcano before 
and after its eruption. Immense showing of ores, 
stone and gems. Photos of mining regions. 

Section 43 — Petroleums, illuminating oils, lubricants 
and products of the Standard Oil Co, 

Sections 42A and 52 — Working models and replica of 
the Fairmont Coal Co.'s mines in West Virginia. 

Section 41 — PENNSYLVANIA — Anthracite mine 
model, working coal breaker, model of Jeddo tun- 
nel, relief model of coal mine and surrounding 
village. The archway over entrance is constructed 



40 



MINING BUILDING 



of rough and polished anthracite coal, and is sur- 
mounted by the state's coat of arms. Blocks of an- 
thracite weighing n tons. Large display of mining 
products. 




Section 40 — Tiffany collection of precious and semi- 
precious stones in their rough and unpolished state. 
It includes many valuable specimens of jade, opals, 
amethysts, agate and sapphires, and is worthy of a 
close inspection. 

Sections 50 and 60 — MISSOURI — Complete zinc and 
lead concentrating plant in operation. Elevated rail- 



MINING BUILDING 41 

way with moving trains surrounding the exhibit. 
Moving pictures of Missouri mines. 

Section 50A— NORTH CAROLINA— Collective speci- 
mens of the ores and minerals of the state. 

Section 70 — UTAH — Working model of concentrating 
mill. Very large collection of precious ores and 
stones. 

Section 71— CALIFORNIA— Model of 5-stamp gold 
mill. Old 2-stamp mill used in 1853. Model cyanide 
plant. Gold stamp mill and concentrator. Remark- 
able collection of gold ore, quartz and . ornamental 
stones. 

Section 51— LOUISIANA— Sulphur statue of "Mephis- 
topheles." Statue in salt of "Lot's Wife." 

Section 61— MONTANA — Colossal copper plinth and 
cubes. Most interesting collection of gold, silver 
and copper ores, and precious stones. 

Section 51 — KANSAS — Pyramid of salt weighing five 
tons from the Hutchinson mines. 

Section 52— PITTSBURG COAL CO— Model coal 
mining plant showing work above and below ground. 
Typical mining village and working models of ma- 
chinery used in handling product Sections of Pitts- 
burg and Connelsville coal seams. 

Section 63— KENTUCKY— Model of the Eureka Coal 
mine. Exhibit of Kentucky Bluestone Co. 

Section 53— GREAT BRITAIN— Collective display of 
minerals, relief maps and photographs of the min- 
ing industries of Great Britain, including a valuable 
exhibit of South African ores and precious stones. 

Section 74— U. S. GOVERNMENT SURVEY— An 
exhibit of maps, charts and publications. 

Section 74A— VIRGINIA— Statue of "Old King Coal," 
paintings of scenes in mining regions of the state. 

Section 72— ALABAMA — Colossal statue of Vulcan 
made of Birmingham cast iron and designed by 
Sculptor Moretti. It weighs 20 tons and is 45 feet 
high. The mineral exhibit of the state surrounds 
its base. 

Section 71 — COLORADO — Remarkable collection of 
ores from the mining regions of the state. Display 
of semi-precious stones. 

Section 60— NORTH CAROLINA— Gold nuggets from 
Stanley County, weighing from 10 to 12 pounds each. 
Diamond weighing 7^4 carats, garnets, sapphires and 
rare quartz gems. 

Section 83 — IDAHO — Hugh boulder from the Hailey 



EDUCATION BUILDING 43 

silver mines. It weighs more than a ton and is 

60 per cent pure silver. 
Section 61— SOUTH DAKOTA— Gold quartz from the 

famous Homestake mine at Deadwood, the richest 

gold mine in the world. Relief map of the Black 

Hills mining region. 
Section 81 — NEVADA — Shaft showing the amount of 

gold mined in the last half century, surmounting a 

plinth of silver. 

The lagoon is now crosed by means of the "De Soto" 
bridge, leading westward. Safely reaching the opposite 
shore, the route leads up to the eastern entrance of the 
classical 



EDUCATION BUILDING. 

In plan this structure is irregular with principal 
entrances in the form of a triumphal arch. At the 
corners are pavilion entrances connected by a colon- 
nade of monumental proportions. The Corinthian col- 
umns which form this colonnade are of great size, 
imparting a certain grandeur to the building's appear- 
ance. In style it is architecturally a pure classic. The 
dimensions are 525 by 750 feet, with an area of seven 
acres. Architects, Eames & Young of St. Louis. 
Cost, $400,000. 

Statuary — Quadriga, surmounting main entrances. 
Goldenrod, repeated figures over entrances. Music and 
Industry, flanking main entrances. The Thread of Fate 
and The Flight of Time, groups contingent to quadriga. 
Manual Training and several Victories, at various 
points. All of the sculptural decorations of the Edu- 
cation building were designed and executed by Robert 
Bringhurst. 

The principal exhibits in this building are : Kinder- 
garten, evening and vacation schools, high schools and 
academies, manual training and commercial schools, 
colleges and universities, professional and scientific 
schools, libraries and museums, industrial and trade 
schools, Indian, Negro, deaf and dumb schools, train- 
ing of teachers, school building plans, models, appli- 
ances, study and investigation of social and economic 
conditions, state regulation of industry and labor, or- 
ganization of industrial workers, cooperative and prov- 
ident institutions, housing of the working classes, 
public health, municipal improvement, the liquor ques- 
tion and general betterment movements. 



44 



EDUCATION BUILDING 



Notable Exhibits. 

Sections i, 2 and 3 — Collective exhibits of drawings, 
models and children's work in the elementary grades. 
Work of students in the secondary grade and manual 
training schools. 




KSJ*^> 



Section 4 — Exhibit of institutes and schools for the 
education of the blind and deaf. 

Section 5 — Original police ambulance shown by police 
department of Chicago. Exhibit of hospitals and 
sanitariums. Prudential Life Insurance Company's 
pavilion and display. Whipping post used in the 
State of Delaware. 

Sections 6 and 7 — Educational exhibit of the Cornell 
University, Y. M. C. A., St. Louis School of 
Fine Arts and Vassar College, with model of build- 



MODEL CITY STREET 45 

ing. Collective exhibits of school furniture, text- 
books, globes and supplies. 
Section 8 — Exhibit of the colleges of agriculture 
and mechanic arts and experiment stations endowed 
by the various states and the United States govern- 
ment, including models, photographs, objects and 
apparatus. 
Section 9 — Exhibits of the Universities — Yale, Har- 
vard, Washington, Princeton and others. Magni- 
ficent model of Columbian University building at New 
York. 
Section 10 — Interesting educational display of Ger- 
many. Large showing of scientific and school equip- 
ment. 
Section ii — The "Bertillon" system of identification, 
showing methods of tracing, capturing and identify- 
ing criminals. Exhibit of manual work, drawings 
and exercises practiced in the schools of France. 
Specimens of work from the technical schools of 
Madagascar. 
Section 12 — English finger print system of identifica- 
tion used at Scotland Yard. Educational displays 
of Great Britain, Japan, Italy, Mexico, Siam, Brazil 
and Portugal. 

Leaving the Education Building by its central 
southern entrance, turn to the west, or the right hand, 
follow the avenue which leads around the Grand, 
Basin, and a splendid view of Cascade Gardens is 
offered to your left. Proceed slowly, giving a mo- 
ment's notice to the statue of Johann Heinrich Pes- 
tallozzi, by Albert Jaegers of New York, near the main 
western, entrance. At the northwest corner turn east- 
ward on Transverse avenue to the statue of Horace 
Mann by H. K. Bush-Brown of New York, then 
across Transverse avenue, by "Daniel Boone" bridge, 
to the south entrance of Manufactures Building, ob- 
serving the statue of Charles Goodyear by Michel 
Tonetti of New York. Here we again face westward. 
Turn to the left, follow the walk around the building 
to its southwest corner, then north to the right, and we 
arrive at the western entrance of the 

MODEL CITY STREET. 

This street,. 1,200 feet long, is inimediately east 
of the main entrance and north of the -Manufactures . 
Building. It is approximately four - city blocks in 
length with a public square in the center. At either 



46 



MODEL CITY STREET 



end of the street are two restaurants conducted on 
high-class lines. The Hospital, Model Library Build- 
ing, and School were erected by the Missouri Com- 
mission, the Municipal Museum by St. Paul and Min- 
neapolis, Casino by Kansas City, Park Shelter by 
Boston, similar buildings by Buffalo and Sam Fran- 
cisco, and the Model Railway Station by the city of 
Atlanta, Ga. At the extreme southern exit is seen the 
Press Building and the giant tower of the De Forest 
Wireless Telegraph Co. The problems dealt with' are 
those certain to exist in the home town of every vis- 
itor, and the exhibits will suggest what is most need- 
ful in the improvement of municipalities, whether large 
or small. 

Inspection of the Model City Street completes the 
day's tour and the visitor may return to the main en- 
trance, from where transportation to any portion of 
the city is available. 




STATUE " DE LA SALLE ' 



SECOND DAY. 

Cascade Gardens; Festival Hall; Art Buildings; 
Grant's Cabin; " House of Hoo-Hoo "; " Charlot- 
tenburger Castle." 

Because of their attractiveness, and by way of 
variation, the Cascade Gardens, its approaches and sur- 
roundings, together with the Fine Arts Buildings 
and their priceless contents are selected for inspection 
on this, the second day's visit to the Exposition. 

Wabash trains from the great Union depot will 
afford quick and satisfactory service to the Lindell 
avenue, or main entrance. Proceeding, as on the first 
day, there is noticed southwest of the main entrance, 
a magnificent statue of Louis IX., of France, aptly 
named The Apotheosis of St. Louis, by Charles H. 
Niehaus of New York. Turning westward and to the 
right, steps are now taken to the corner of the Plaza, 
then southward to the left, keeping within the shade 
of the trees until the Grand Basin is reached. 

The Louisiana Purchase Monument is seen here. 
The several pieces of statuary just south, which face 
the Basin, suggesting the early days of the purchased 
territory and entitled A Step to Civilization, Buf- 
falo Dance, Cowboy at Rest, and A Peril of the 
Plains were modeled by Solon H. Borglum. Passing" 
onward first to the right, then to the left, following 
the western shore of the Grand Basin to a vantage 
point opposite the southeast corner of the Electricity 
Building, the visitor is now presented to the central 
feature of the Exposition, the famous 

FESTIVAL HALL AND COLONNADE. 

This is the most magnificent structure on the Fair 
grounds ; of this there can be no doubt. Its beauty 
is apparent even to the eye of the veriest layman in 
architectural matters, and its pre-eminence is more 
fully established by the noble structures with which 
it is surrounded. 

It was designed by Cass Gilbert and is in a classic 
style of architecture, somewhat Ionic in idea, but 
treated in a decidedly ornate manner, with suggestions 
from many of the schools of the renaissance. There 
will be no exhibits in it. It was planned as a home 



CASCADES 49 

for the great festivals and mighty gatherings that will 
from time to time be held at the Fair, and is a great, 
dome-crowned auditorium — nothing more. Its posi- 
tion is on the very crest of Art Hill, with two great 
arms in the Colonnade of State, and entirely screens 
the plainer Art Palace in the rear from view. Techni- 
cally, it is a circle with a large oblong rectangle at its 
southern end. This rectangular oblong is 250 feet long 
by 64 feet wide. The circle, which constitutes the 
auditorium proper, has a diameter -of 195 feet, and is 
topped by a dome that is not only the most beautiful 
but the largest that has ever been erected by man. Its 
total height is 200 feet, and both in height and diam- 
eter it excels the domes of St. Peter's and the Pantheon 
at Rome, which have hitherto ruled supreme as the 
largest domes in the world. 

The interior of the great hall has been decorated 
after designs by E. L. Masqueray, chief designer for 
the Fair, and is in sympathy with the architectural 
scheme and exterior ornamentation. The color tone 
is subdued, yet of harmonious, delicate suggestion. 
There are extensive balconies, affording with the 
ground floor a seating capacity for 3,500 people. Its 
monster organ, the largest ever built, is one of the 
marvels of the Exposition, and was constructed by the 
Harris Organ Company of Los Angeles, California. 
It is 62 feet long, 40 feet high and 33 feet wide, pos- 
sessing 140 stops, 239 movements and 10,059 pipes ; the 
two pipes drawing the lowest tones are 32 feet long. 
Cost, $100,000. 

CASCADES. 

The cascades are three in number, the major fall 
directly in front of the great hall and the others occu- 
pying well-balanced positions on the slopes to the side. 
Even the smaller cascades are of large size, and can 
only be termed smaller in comparison with the central 
fall, which is of imposing dimensions. The width of 
the weir, or waterway, at the top is 38 feet, and the 
cascade gradually expands in width down the hill 
until at the base the fall is 162 feet wide. The smaller 
falls are each 18 feet wide at the top and 68 feet wide 
at the base. There are five distinct steps or falls in 
the largest cascade, and the water leaps down this path 
in a stream averaging 51,000 gallons a minute. The 
volume of water flowing down each of the side cas- 
cades is something like 18,000 gallons a minute, large 
4 



50 CASCADES 

enough to make these streams of lesser width quite as 
deep as the great stream in the center. 

It is no small task to feed 90,000 gallons of water 
a minute to these three cascades, and in order to ac- 
complish it, it was necessary to have specially built 
iarge centrifugal pumps, and larger alternating motors, 
to furnish the power than have ever before been con- 
structed. The pumps are three in number, and each 
has a registered capacity of 30,000 gallons a minute, 
larger by fully a hundred per' cent than the largest 
heretofore constructed. These pumps are operated by 
three 2,000 horse-power alternating current electric 
motors, and the entire operating plant is located imme- 
diately under the east cascade. The water for the 
cascades is pumped from the lagoon by means of con- 
cealed pipes, and will thub be used over and over 
again, so that there will be no waste of city water, a 
waste that would be impossible for St. Louis to bear, 
as 90,000 gallons a minute means a larger amount of 
water than that consumed by all the people in the city, 
in both their homes and industrial enterprises. 

The skill of the sculptor has been called into play 
to afford fitting decorative treatment for the cascades. 
Each of the side streams springs from a fountain sur- 
mounted by a draped figure standing on a ball, and 
directly at the head of the fall are groups of statuary 
on either side, while each of the six steps in the falls 
are marked by other sculptured groups. The center 
fall has its origin in a huge shell-like fountain, which 
appears to form a part of Festival Hall. The first cup 
of the fountain has a semi-arch over it in the shape 
of a fluted shell, and sculptured against this are half 
a dozen figures, pertinent in an allegorical way to the 
subject. On each side of the shell is a group showing 
a figure attempting to control a plunging steed. Below 
the shell is a basin divided into three parts, into which 
the water first flows, and this also has been given 
elaborate sculptural treatment. From these basins the 
water falls into a large receptacle and flows from this 
under the road in front of Festival Hall out onto the 
terrace of the cascades proper. This terrace at the 
mouth of the fall is ornamented with two noble sculp- 
tured groups, and each of the five steps of the cascade 
has been bordered with other groups, similar to those 
on the side cascades, but larger and more elaborate in 
form, many of them Cupids astride of fish. At night 
the cascades are illuminated by concealed electric 
bulbs, to the number of 8,000, and projection lights 



ART BUILDINGS 51 

of the calcium order, so that they look like streams of 
molten gold and silver flowing down the hillside. 
They are the largest cascades, by the way, that have 
ever been built. 

The cost of these watercourses, including power 
plant, sculpture and other decorative features, totals 
about $400,000, and the Exposition will have to spend 
several hundred dollars daily to keep them in oper- 
ation. 

Completing the perspective view of this wonderful 
picture, the visitor will now - move westward to the 
right, crossing over the first bridge to the left, and 
proceed along the pathway leading toward the central 
or main cascade. A noble figure of Jefferson designed 
by Charles Grafly of New York is placed at the south- 
ern end of the bridge, its companion piece, that of 
Napoleon by Daniel C. French, occupying a similar 
position on the eastern side. 

Departing from Festival Hall, the route leads 
farther east along the terrace to its extreme end, from 
where a return is made to the main entrance. Situated 
across the boulevard are seen the classical and mag- 
nificent 

ART BUILDINGS. 

The Art Palace comprises four massive structures 
the aggregate length of which is 830 feet and the depth 
450 feet. The central building of brick and stone is 
permanent and will remain as a memorial of the Ex- 
position. The buildings at either end and the sculp- 
ture pavilion on the south are of brick ornamented 
with staff, as was the Art Palace at Chicago. The 
interior of the quadrangle is laid out as a garden with 
flowers, ornamental shrubs, fountains and statuary. 
The architect of the three larger structures is Cass 
Gilbert of New York. The architect of the sculpture 
pavilion is E. L. Masqueray, Chief-of-Design of the 
Exposition. This pavilion is 150 feet long by 100 feet 
wide, its plan being rectangular with an exhedra or 
semicircular bay at the east or west ends. Cost, 

$1,000,000. 

In the central building, a permanent structure of 
Bedford stone, are shown the creations of American 
sculptors and artists. The main interior architectural 
feature of this building is the sculpture gallery, 94 
by 157 feet, one of the most beautiful halls in any of 
the large buildings. Foreign exhibitors occupy both 



ART BUILDINGS 53 

the east and west annexes which are surrounded by 
terraces affording a delightful promenade and a pan- 
orama of the grounds to the south and east. Back of 
the buildings is a large formal garden, full of winding 
walks and adorned with many pieces of statuary. The 
Foreign Sculpture Gallery, an octagonal shaped pa- 
vilion, is located in the rear of this garden, and like 
the three main buildings, is thoroughly fireproof. 

The statuary on the Art Buildings is as follows : 
Pinnacle main entrance, Inspiration by Andrew O'Con- 
nor ; ends of apex, bronze griffins by Phinister Proctor ; 
cornice main entrance, six figures representing the ages 
of art : Egyptian by Albert Jaegers, Classic by F. E. 
El well, Gothic by James Gelert, Oriental by Herman 
Linder, Renaissance by Carl E. Teft, and Modern by 
C. Harmann ; sides of main entrance, Truth by Charles 
Grafly and Nature by Philip Martiny ; front of main 
entrance, Painting by Louis St. Gaudens. 

Notable Exhibits. . 
MEXICO (W. Pavilion). 

GALLERY 94. 

Nos. i to 14— Portraits, including those of President 

Diaz and family, by Jose Escudero y Espronceda. 
No. 16 — Christ Bound to a Column, by Antonio Fabres. 
No. 18 — Jerico Flowers, by Antonio Fabres. 
No. 21 — By the Sultan's Order, by Antonio Fabres. 
No. 24 — The Wounded, by Garcia Caromina. 

CUBA (W. Pavilion). 

GALLERY 97. 

No. 4 — Battle of Santiago, by Cortaela y Roderiguez. 
No. 6 — Almendares River, by Aurelio Melero. 
No. 18 — The Convalescent, by Leopoldo Romanach. 
No. 24 — An Old Woman's Head, by Leopoldo Roman- 
ach. 
No. 25— Battle of San Juan Hill, by J. J. Tejada. 

BRAZIL (W. Pavilion). 

GALLERY IOO 

No. 18 — Painting by P. P. Weingaertner. (Lent by 

Government.) 
No. 19 — Two paintings by Elyseu Visconti. 

FRANCE (W. Pavilion). 

GALLERY 89. 

No. 35 — St. Vaast-la-Houge Marshes by Leon Barillot. 
No. 376 — The Express, by Luigi Loir. 



54 



ART BUILDINGS 




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ART BUILDINGS 55 

No. 414 — Family Portrait, by Adrian Moreau Neret. 
No. 569 — The New Captive, by Adolphas Weisz. 
No. 587 — Returning from Work, by Andre Castaigne. 
No. 649 — Boats at Martignes, by Pierre Vignal. 
No. 736 — Evening (etching), by Camille Fouce. 

GALLERY 9O. 

No. 695 — Gambria's Coast (etching), by Theophile 

Chauvel. 
No. 771 — Portrait (etching), by Frederic Languillermie. 
No. 773 — The Game Won (etching), by Adolphe Le- 

lauze. 
No. 787 — Portrait of Washington (etching), by Henri 

Lefort. 
No. 812— Portrait of M. Loubet (lithograph), by Paul 

Maurou. 
No. 888 — Sarah Bernhardt (engraving), by Charles A. 

Waltner. 
No. 890 — The Astronomer (engraving), by Charles A. 

Waltner. 

GALLERY 91. 

No. 22 — Lorenzina. by Rene Avigdor. 

No. 40 — Woman with Dog, by Marcel Baschet. 

No. 72 — Before the Ball, by Pascal Blanchard. 

No. 138 — Siegfried, by Theobald Chartran. 

No. 141 — The Rising Moon at Noirmoutiers, by Ernest 

Jean Chevalier. 
No. 183— Death, by Albert Dawant. 
No. 216 — Near a Pool, by Julian Dupre. 
No. 307 — A Painter .of the Stone Age, by Paul Joseph 

Jamin. 
No. 430 — Awakening, by Leon Perrault. 
No. 453 — Buckwheat in Bloom, by Fernand Quignon. 
No. 530 — Bouray, by Leon Tanzi. 
No. 543 — Hellebore Flowers, by Gabriel Thurner. 
No. 544 — Going Round the Garden, by Edouard 

Toudouze. 
No. 561 — "Latet anguis in herba," by Jules Victor Ver- 

dier. 

GALLERY 92. 

No. 27 — Lake Champex, Switzerland, by Armand Bal- 

ouzet. 
No. 31 — The Old Village Place, by Emile Barau. 
No. 117 — Off to School, by Emile Cagniart. 
No. 195 — The Sick Girl, by Henry d'Estienne. 
No. 204 — Setting Sun and Rising Moon, by Alphonse 

Dinet. 
No. 254 — A Servant of the Poor, by Jean Geoffroy. 



56 ART BUILDINGS 

No. 299 — Death' of the Wolf, by Leon Herrmann. 
No. 334 — A Gale, by Gorges Laugee. 
No. 363 — The Port aux Vins, by Stanislas Lepine. 
No. 502 — Sweet Halima, by Gaston Saintpierre. 
No. 539 — Fisherwoman, by Eugene Thiron. 

GALLERY 93. 

No. 73— The Flag of Mars-la-Tours, by Alexandre 
Bloch. 

No. 102 — An Interrupted Meeting, by Henri Brispot. 

No. no — Back from Mt. St. Michel, by Georges Bus- 
son. 

No. 149 — Women and Poppies, by Georges Clairin. 

No. 166 — Adam and Eve in Eden, by Gustave Cour- 
tois. 

No. 209 — Don Juan, by Jean Duffaud. 

No. 273 — Copper, by Jules Grun. 

No. 291 — Portrait of Mile. Busch (daughter of Adol- 
pheus Busch), by Richard Hall. 

No. 310 — Water Lilies, by Louis Japy. 

No. 314 — In the Mist, by Paul Jobert. 

No. 429 — Nymph Reclining, by Leon Perrault. 

No. 485— The Past, by Henri Rondel. 

No. 511 — The Widow, by Louis de Schryver. 

No. 550 — Poor People, by Emile Troncy. 

No. 600 — White Peony, by Ernest Filliard. 

GALLERY 98. 

No. 23 — Embarking for Cythera, by Joseph Avy. 
No. 100 — Choice, by Albert Breaute. 
No. 101 — Miraculous Fishing, by Henry Bremond. 
No. 118 — Bonaparte in Versailles, by Georges Cain. 

(Special.) 
No. 189 — The Murmur of the Brook, by Frangois De- 

lobbe* 
No. 241— The Signature of the Second Concordat, 

Fontainbleu, 1813, by Jose Frappa. (Special.) 
No. 274 — The Spring, by Gabriel Guay. 
No. 338 — Woman Reclining, by Paul Laurens. 
No. 348 — The Founding of St. Louis by Le Queuse. 

(Special.) 
No. 360 — Conversation, by Madeleine Lemaire. 
No. 380 — Autumn Song, by Felix Lucas. 
No. 504 — The Yellow Rose, by Gaston Saintpierre. 
No. 513 — At the Fountain, by Guillaume Seignac. 
No. 528 — Woman Bathing, by Edmond Suau. 

GALLERY 99. 

No. 6 — Law, by Alfred Agache. . 

No. 8— The Gold Ring, by Alfred Agache. 



ART BUILDINGS 57 

No. 93 — Christ, by Claude Bourgonnier. 
No. 275 — War in Lace, by Ferdinand Gueldry. 
No. 382 — Pheomios Singing Before Penolope, by Di- 
ogene U. N. Maillart. 

GALLERY 105 

No. 82 — Calm River, by Alexandre Bouche. 

No. in — Moonlight in Dull Weather, by Frangois 

Cachoud. 
No. 277 — Brook at Noirval, by Arrnand Guery. 
No. 447 — Among Friends, by Rene Prinet. 
No. 470 — Women Embroidering, by Marcel "Rieder. 

GALLERY I06. 

No. 155 — Psyche and Cupid, by Leon Comerre. 

No. 157 — Towards the Light, by Pierre Cornillier. 

No. 190 — Wrecks, by Adrien Demont. 

No. 235 — Kleber Before Mayence, by Francois Flam- 

eng. (Special.) 
No. 237 — At RoscofT, by Mme. Fanny Fleury. 
No. 295 — The Nun, by Jean- Jacques Henner. (Special.) 
No. 468— In the Offing, by Louis Ridel. 

STATUARY. 

No. 1003 — St. Georges, by Emanuel Fremest. 
No. 1005 — Race Horses, by Emanuel Fremest. 
No. 1006 — Horseman of 14th Century, by Emanuel Fre- 
mest. 
No. 1085 — Wild Boar, by Louis de Monard. 

GALLERY IO7. 

No. 120 — Portrait of Mme. Jacques Stern, by Emile 

Carolus-Duran. 
No. 158 — Evening, by Georges Costeau. 
No. 196 — Portrait of Mme. F., by George Desvallieres. 
No. 373 — Death and the Woodcutter, by Leon Lher- 

mitte. 
No. 374 — The Marne, by Leon Lhermitte. 
No. 375 — Washerwoman, by Leon Lhermitte. 

GALLERY 108. 

No. 163 — Heath in the Morning, by Martin Couland. 

No. 175 — Old Forge, by Henry Darien. 

No. 202 — Autumn in Vernier Marshes, by Marie Die- 
terle. 

No. 284 — Perfume, by R. M. Guillaume. 

No. 347 — "La Pensie," by Louis Leclercq. 

No. 454 — In the Open Sea, by Gustave Ravanne. 

No. 455 — Boats Wrecked in the Setting Sun, by Gus- 
tave Ravanne. 

No. 485— The Past, by Henri Rondel. 



ART BUILDINGS 59 

No. 555 — Parisian Woman, by Edouard Honore Um- 
bricht. 

GALLERY 1 1 3. 

No. 259 — The Thames at London, by Louis Gillot. 
No. 296 — Setting Sun, bv Henry-Laurent. 
No. 326 — The Road, by P. Franc Lamy. 
No. 355 — Sunset in Brittany, by Fernand Le Gout- 
Gerard. 
No. 518 — The Coast of Palus, by Lucien Simonnet. 

GALLERY 1 1 4. 

No. 3 — Dead Wood, by Louis Adan. 

No. 25 — A Lesson in Lace-making, by Joseph Bail. 

No. 173 — The Meadow, by Pierre Damoye. 

No. 210 — Banks of the Seine, by Camille Dufour. 

No. 214 — The Return of the Herd, by Julian Dupre. 

No. 252 — Plans for the Future, by Edouard Gelhay. 

No. 335 — A Shower in the Valley of Arques, by Georges 

Laugee. 
No. 432 — A Village of Lorraine, by Edmond Petitjean. 

GALLERY 1 1 5. 

No. 172 — In the Heath, by Pierre Damoye. 

No. 194 — A Flame May Kindle Again, by Virginia 
Demont-Breton. 

No. 233 — Harem Flower, by Marie Ferrier. 

No. 305 — Horses Drawing a Harrow, by Emile Jacque. 

No. 384 — A Corner of Marshes Verdier, by Adolphe 
Marais. 

No. 433 — Old Harbor of Marseilles, by Edmond Petit- 
jean. 

No. 558 — Shepherd Monk in Vaucluse, by Paul Vay- 
son. 

No. 479 — Judith, by Edouard Rochegrosse. 

GALLERY 1 1 6. 

No. 67 — Snow in the Region of Thouat, by Rene 

Billotte. 
No. 206 — Portraits of Miles. B., by Guillaume Dubufe. 
No. 271 — Evening in the Plain, by Lucian Griveau. 
No. 278 — Sheep in the Downs, by Gaston Guignard. 
No. 349 — A Cottage of the Grove, by Georges Lefebvre. 
No. 460 — Viaticum, by Emile Renard. 
No. 462— Portrait of M. E. R., by Emile Renard. 
No. 506— Mother's Petting, by Daniel Saubes. 

GALLERY 1 1 7. 

No. 14 — The Sacred Battalion at Waterloo, June 18, 

181 5, by Raoul Arus. (Special.) 
No. 88 — Assault, by William Bouguereau. 



60 ART BUILDINGS 

No. 94 — Round a Lamp, by Henri Bouvet. 

No. 182 — Distress, by Albert Dawant. 

No. 185 — Boat Woman Praying, by Leon Delachaux. 

No. 198 — Horse Reconnoitering, 1809, by Edouard De- 

taille. (Special.) 
No. 245 — The Ferryman, by Leon Gagneau. 
No. 297 — Low Tide, by Leon Herrmann. 
No. 381 — Cupid as a Shepherd, by Diogene U. N. 

Maillart. 
No. 538 — Cupid and Psyche, by Eugene Thiron. 

GALLERY 1 1 8. 

No. 38 — Portrait of M. Ambroise Thomas, by Marcel 

Baschet. 
No. 69 — Surprise, by Edouard Bisson. 
No. 71 — A Bushy Ravine, by Henri Biva. 
No. 87 — The Oreads, by William Bouguereau. 
No. 137 — Cardinal de Richelieu, by Theobald Chartran. 
No. 303 — Marie-Madeleine, by Ferdinand Humbert. 
No. 477 — Revery, by Tony Robert-Fleury. 
No. 576 — Muse Mourning the Poet, by Marie Zwiller. 

JAPAN (W. Pavilion). 

GALLERY 12$. 

No. 3 — Chrysanthemums and Sparrows, by Mme. 

Giokushi Atomi. 
No. 21 — Peacock and Peahen, by Chukusui Hirai. 
No. 27 — Winter, by Keinen Imao. 
No. 28 — Carps at Play, by Sodo Ishii. 
No. 56 — Arashiyama in Rain, by Bunkio Nomura. 

GALLERY 1 29. 

No. 8 — Poppy Field, by Horiu Goseda. 

No. 9 — A Quiet Mountain Stream, by Horiu Goseda. 

No. 10 — Mountain Village, by Horiu Goseda. 

No. 85 — Portrait of a Young Lady, by Yeisaku Wada. 

No. 87— A Mountain After Autumn Rain, by Morino- 

suke Yamamoto. 
No. 90 — Cherry Trees by Morning Light by Hiroshi 

Yoshida. 

GALLERY 120. 
STATUARY. 

No. 100 — Hard at Work (bronze), by Kanejiro Kan- 
eda. 

No. 101 — Wood Cutter (bronze), by Kanejiro Kane- 
da. 

No. 105 — Old Woman Sweeping (ivory), by Kanejiro 
Kaneda. 

No. 107 — Large Skull (ivory) by Kozaburo Mikawa. 

No. no— The Angler (ivory), by Kichigoro Murata. 



ART BUILDINGS 61 

No. in — Grandfather and Grandson (ivory) by Kich- 

igoro Murata. 
No. 117 — Farmers Making Rice Bag (bronze), by Osao 

Watanabe. 

GALLERY 1 33. 
ART WORKMANSHIP. 

No. 150 — Wall Hanging, by Shinhichi Iida. 
No. 152 — Embroidered Panel, by Shinhichi Iida. 
No. 211 — Embroidered Wall Hanging, by Sozayemon 
Nishimura. 

GALLERY 1 34. 
STATUARY. 

No. 104 — A Hunter (ivory), by Kanejiro Kaneda. 
No. 237 — Tiger (bronze), by Chokichi Sazuki. 

ART WORKMANSHIP. 

No. 143 — Decorated Cloisonne Vase, by Tadasaburo 
Hattori. 

No. 153 — Embroidered Wall Hanging, by Shinhichi 
Iida. 

No. 200 — Peacock and Peahen (panel), by Shigotaro 
Mukai. 

No. 212 — Embroidered Screen, by Sozayemon Nishi- 
mura. 

BELGIUM (W. Pavilion). 

GALLERY 84. 

No. 24 — Mother and Child, by Andre Cluysenaer. 
No. 40 — The Lover of Books, by Louise De Heem. 
No. 57 — The Rising Moon, by Leopold Haeck. 
No. 68 — Bather, by Charles Hermans. 
No. 113 — The Wave, by Alexis Nys. 
No. 166 — An Old Flemish Song Between Two Decks, 
by Piet Verkaert. 

STATUARY. 

No. 240 — Undeceived, by L. E. Jespers. 

No. 241 — Expiation, by Jules Lagae. 

No. 244 — Woman of Arlei, by Jules Lagae. 

No. 248 — Amazons Struggling, by Auguste Leveque. 

No. 257 — Evening, by Charles Samuel. 

No. 269 — The Charming One, by J. Weyns. 

GALLERY 85. 

No. 50 — Nature, by Leon Frederic. 

No. 51 — St. Francis on the Border of the Sea, by Leon 

Frederic. 
No. 127 — The Red Cows, by J. Franz Simons. 
No. 177 — Th«j Old iridge, by Rudolphe Wijtsman. 



ART BUILDINGS 63 



GALLERY 86. 

No. 52 — The Water Color Lesson, by Helene Gevers. 

No. 89 — The Blue Wing, by Fernand Khnopff. 

No. 109 — The Mandolin, by Gorgette Meunier. 

No. 173 — Old Channel at Ghent, by Ferdinand Willeart. 

GALLERY 87. 

No. 12 — An Old Song, by Alois Boudry. 

No. 42 — Portrait of a Country Priest, by Jacques De- 

Lalaing. 
No. 53 — The Broken Branch, by Helene Gevers. 
No. 76 — Young Oxen in Pasture, by Adolphe Jacobs. 
No. 126 — Sand Hills in the Campine, by Henry Rul. 
No. 150 — An Old-time Jewel Fair, by P. J. Van der 

Ouderac. 
No. 151 — A Moment of Rest, by P. J. Van der Ouderac. 
No. 152 — Attila Weeping by his Women, by Louis 

Vandievoort. 

GALLERY 88. 

No. 54 — The Channel of Bruges, by Victor Gilsoul. 

No. 75 — Autumn, by Leon Houyoux. 

No. 79 — Ocean, by Armand Jamar. 

No. ioo — Triumph of Death, by Auguste Leveque. 

No. 101 — Hymn of Love, by Auguste Leveque. 

No. 139 — The Spring, by Gust. Vanaise. 

No. 146 — Woman and Cat, by G. P. M. Van den Bos. 

GALLERY IO9. 

No. 13 — The Convalescent, by Alois Boudry. 

No. 35 — Peaches, by Marie De Bierre. 

No. 45 — Chrysanthemums, by Angelina Drumeaux. 

No. 64 — Quo Vadis, by Andre Hannebicq. 

No. 94 — Destiny and Humanity, by Jef Leempoels. 

No. no — Afternoon, by Isidore Meyers. 

No. 124 — Banks of the Escaut, by Jacques Rosseels. 

GALLERY 1 10. 

No. 7 — Border of the Forest of Soignes, by Alfred Bas- 

tien. 
No. 30 — A Corner of the Pond, by Victor Crabbe. 
No. 70 — Sun Rising in the Bogs of the Campine, by 

Adrien Heymans. 
No. 82 — Grey Weather, by Marcele Jeffreys. 
No. 99 — Nothing More, by Alice Leotard. 
No. 119 — The Spider, by Marguerite Radonx. 
No. 145 — Abandoned Ships, by Frans Van Damme. 
No. 157 — A Sunny Day, by Corneille Van Leem- 

putten. 



64 ART BUILDINGS 



GALLERY III. 

No. 105 — Barques to Repair, by Alex Marcette. 
No. 136— Mill in the Flanders," by V. M. Uytterebaut 
No. 138 — Environs of Brussels, by V. M. Uytterebaut. 
No. 188 — The Pond at Daybreak, by Ferd. Coenraets. 

GALLERY 112. 

No. 125 — Panorama of Bruges, by Ch. L. Rousseau. 
No. 185— Job, by Ch. Bernier. 

. ITALY (W. Pavilion). 

GALLERY 1 1 9. 

No. 4— At Prayer, by Natale Attanasio. 

No. 7 — Sunset at Pompeii, by Maurizio Barricelli. 

No. 63 — Underfed, by Oreste Damolin. 

No. 71 — The Souls' Loves, by 'Oca Bianca Dell. 

No. 238 — Soap Bubbles, by Carlo Stragliati. 

GALLERY 120. 

No. 22 — At Play, by Romeo Bonomelli. 

No. 24 — Chrism, by Neo Bordignon. 

No. 27 —Ocean and Cliffs, by Eugenio Buono. 

No. 48 — The Bucintaurus, by Guglielmo Ciardi. 

No. 87 — Feeding Time, by Raffaele Faccioli. 

No. 108 — Poppea, by E. Forti. 

No. 114 — Galileo Galilei, by Edoardo Gelli. 

No. 135 — A Music Lesson, by Achille Guerra. 

No. 158— Model at Rest, by Emilio Magistrelli. 

No. 167 — First Steps, ^by Giacomo Mantegazza. 

No. 233 — Oriental Girl, by Mario Spinetti. 

GALLERY 121. 

No. 26 — Sheep Herders, by Eugenio Buono 

No. 33 — Easter Market at Naples, by Vincenzo Caprile. 

No. 49— Witches at Night, by Fabio Cipojla. 

No. 54 — In the Campania, by Federigo Cortese. 

No. I2i- — To the Sanctuary, by Celestino Gilardi. 

No. 133 — The Charge, by Vittorio Guaccimanni. 

No. 225 — Iris, by Alfonso Savini. 

GALLERY 122. 

No. 2 — The Widow, by Ermengildo Agazzi. 

No. 60 — Plain Life, by Enrico Crespi. 

No. 86 — In the Harbor of Naples, by Gaetano Esposito. 

No. 93 — Interior of St. Antony Cathedral, by Arturo 
Ferrari. 

No. in — Marine, by Petro Gabrini. 

No. 157 — Under Marcus Aurelius, by Emilio Magis- 
trelli. 



ART BUILDINGS 65 

No. 179 — Damocles' Sword, by Camillo Miola. 
No. 205 — A Pearl, by Raimondo Pontecarvo. 

GALLERY I23. 

No. 182— Cathedral of Milan, by Angelo Morbelli. 
No. 191 — Victorious Youth, by Plinio Nomellini. 
No. 193 — The Storm, by Filippo Omegna. 
No. 212 — Convalescence, by Antonio Rizzi. 

GALLERY 1 24. 

No. 20 — St. Cecelia, by Roberto Bompiani. 
No. 52 — Friends, by Umberto Coromaldi. 

GALLERY 1 26. 

No. 50 — Duck Hunt near Rome, by Enrico Coleman. 
No. 69 — Scheveningen (Holland), by Lorenzo Delleani. 
No. 70 — Tides, by Lorenzo Delleani. 
No. 143 — Silence, by Giorgio Kierierk. 

ARGENTINE (W. Pavilion). 

GALLERIES 95 AND 96. 

No. 6 — The Falls of Iguazu, by Augusto Ballerini. 

No. 7 — Without Bread and Without Work, by Ernesto 
Carcova. 

No. 8 — In the Garden, by Ernesto Carcova. 

No. 17 — The Bath, by Diana cid de Daenpt. 

No. 30 — Twilight, by Ricardo Garcia. 

No. s 2 — The Soup of the Poor, by Reynaldo Giudici. 

No. 47 — Return from Fishing, by Cesareo Quiros. 

No. 55 — Portrait, by Severo Roderiguez Etchart. 

No. 57 — La Nature!, by Severo Roderiguez Etchart. 

No. 62 — Margot, by Eduardo Schiaffino. 

No. 69 — Pampas, by Eduardo Sivori. 

No. 74 — The Model Resting, by Eduardo Sivori. 

No. 76 — Bulls, by Julia Wernicke. 

No. 77 — Panorama of Ascochinga (water color), by 
Augusto Ballerini. 

No. 85 — Alfalfa Field (water color), by Eduardo Si- 
vori. 

STATUARY. 

No- 95 — Dying Indian (terra cotta), by Mateo Alonzo. 

No. 96 — The Drunkard (terra cotta), by Mateo Alon- 
zo. 

No. 97 — Abel (plaster), by Lucio Correa Morales. 

No. 98 — Head of an Old Man (terra cotta), by Arturo 
Dresco. 

No. 105 — Experience Guides (plaster), by Rogelio 
Yrurtia. 



G6 ART BUILDINGS 

PORTUGAL (W. Pavilion). 

GALLERY 128. 

No. I— Cattle Drinking Water (pastel), by Carlos I, 

King of Portugal. 
No. 2 — Ox Cart, by Amelia, Queen of Portugal. 
No. 9— The Wave, by Jose de Brito. 
No. 13 — Portrait of R. C, by Antonio Carneiro, Jr.' 
No. 26— High Water, by Alfredo Keil. 
No. ^3 — Sunset, by Julio Ramos. 
No. 41 — Old Age, by Jose Salgado. 
No. 50 — Monastery of St. Clara, by Alfredo Torquato. 
No. 174 — Girl with Lilies, by Frieda Menshausen. 
No. 242 — "Gli Effimeri," by Andrea Tavernier. 

GALLERIES N AND 0. 

No. 254 — Jealousy, by Alessandro Battaglia. 

No. 265 — A Kiss to the Prettiest, by Augusto Coreli. 

No. 278 — Old Papers, by Giuseppe Micali. 

No. 282 — Small Faun (pastel), by Enrico Piazzi. 

No. 285 — Sleep, Giuseppe Signorini. 

HUNGARY (W. Pavilion). 

GALLERIES 102, IO3 AND IO4. 

No. I — The Honeymoon, by S. Bihari. 
No. 4 — A Paintress, by K. Ferenczy. 
No. 5 — Watering Horses, by B. Griinwald. 
No. 9 — Returning Home, by J. Koszta. 
No. 10 — Portrait of Prince Hohenlohe, by F. E. Laszlo. 
No. 13 — Salamis, by O. Mendeik. 
No. 16 — Tourbillon, by P. Merse. 
No. 17 — A Hungarian Peasant, by M. Munkacsy. 
No. 19 — Study from Peasant Life, by M. Munkacsy. 
No. 21 — Part of a Forest, by R. Paal. 
No. 30 — The First of October, by L. Thorma. (Spe- 
cial.) 
No. 31 — The Flood, by I. Ujvary. 
No. 34 — Anxiety, by T. Zempleny. (Special.) 
No. 35 — A Buffalo Team, by L. Zombory 

STATUARY. 

No. 38 — A Korosfo Girl (terra cotta), by J. Damko. 

No. 40 — Love (marble), by M. Ligeti. 

No. 43 — Aunt Kate (terra cotta), by E. Teles. 

UNITED STATES (Central Pavilion). 

GALLERIES I TO 32. 

No. i — Across the Harbor, by Charles L. Adams. 



ART BUILDINGS 67 

No. 2— San Juan Mountains, by Charles Partridge 
Adams. 

No. 14 — Moonlight in Normandy, by Harry Allis. 

No. 18 — Gethsemane, by Frederic Baker. 

No. 22 — A Night Sky in Winter, by Edward H. Barn- 
ard. 

No. 27 — The Dreamer, by Cecilia Beaux. 

No. 34 — Portrait of Mrs. B., by Carroll Beckwith. 

No. 40 — Pasture, by Henry S. Bisbing. 

No. 44 — The Birches, by Dwight Blaney. 

No. 49 — The New Tenant, by Elisabeth F. Bonsall. 

No. 52 — Mary Magdalene, by F. A. Bridgman. 

No. 56 — Mount Lowe at Sunset, by Benjamin C. 
Brown. 

No. 58 — A Portrait, by James Francis Brown. 

No. 62 — The Village Cobbler, by J. G. Brown. 

No. 66 — Family Group. By George Brush. 

No. 78 — Chief Stinking Bear, by E. A. Burbank. 

No. 81 — Ariadne Abandoned, by Bryson Burroughs. 

No. 84 — A French Dancing Girl, by Robert Mac Cam- 
eron. 

No. 85 — Mending the Net, by Marie Geton Cameron. 

No. 86 — A Connecticut Hill Top, by Emil Carlson. 

No. 90 — A Georgia Pedlar, by Lyell Carr. 

No. 93 — Portrait of a Lady, by Adelaide Cole Chase. 

No. 99— Still Life, by William M. Chase. 

No. 102 — Portrait of Mrs. Chase, by William M. 
Chase. 

No. 105 — Master Otis Barton and Grandfather, by Will- 
iam M. Chase. 

No. 114 — The Nymph, by W. B. Clossom. 

No. 116 — Sunrise in Winter (Pennsylvania), by Will- 
iam A. Coffin. 

No. 119 — Portrait, by Alfred Collins. 

No. 129 — Indian Brave, by E. Irving Couse. 

No. 132 — Portrait of Mrs. C, by Kenyon Cox. 

No. 136 — A Frosty Morning, bv Bruce Crane. 

No. 140 — New Jersey Mountains, by Frederick Crane. 

No. 145 — A Deep Sea Fantasie, by Charles C. Curran. 

No. 153 — Apres la Messe, by William Dannat. 

No. 158— Halibut Fishing, by Walter L. Dean. 

No. 160 — California Sunset, by Lockwood De Forest. 

No. 165 — Saint Ivresse, by W. de Leftwich Dodge. 

No. 166 — Moonrise near Etaples, by Parke C. Dougher- 
ty. 

No. 169 — Woodland Nymph, by Mme. Mattie Dube. 

No. 171 — The Shimmering Sea, by Edward Dufner. 



ART BUILDINGS 69 

No. 175 — Bacchanal, by Frank V. Dn Mond. 

No. 182 — The 'Cello Player, by Thomas Eakins. 

No. 191 — Old Mill at Crecy, by Charles Warren 
Eaton. 

No. 203 — The Bathers, by Mark Fisher. 

No. 218— Head of the Valley, by W. Forsythe. 

No. 222 — Moonlight on the Lagoon (Venice), by Alex- 
is J. Fonrnier. 

No. 230 — Portrait of a Child, by Ruth Sterling Frost. 

No. 237 — The Susquehanna, by Daniel Garber. 

No. 238 — Dutch Fishing Boats, by Robert D. Gauley. 

No. 244 — Coast of Vineyard Sound, by R. Swain Gif- 
ford. 

No. 247 — Ballet Girl in Pink, by W. Glackens. 

No. 249 — Blue Roan, English Cart Horse, by Eugene 
Fish Glaman. 

No. 251 — Plaza a Florence, by Kathleen H. Greatorex. 

No. 253 — The Wayside Inn, by Frank Russell Green. 

No. 261 — Sunset After Appomattox, by Carl Gutherz. 

No. 273 — Portrait of Richard Vaux, by J. McLure 
Hamilton. 

No. 275 — Glimpse of the St. Lawrence, by Birge Har- 
rison. 

No. 276 — Moonrise off Santa Barbara, by Birge Harri- 
son. 

No. 278 — Old Ferry House, by Birge Harrison. 

No. 282 — A Portrait Study, by Mary Theresa Hart and 
Letitia B. Hart. 

No. 295 — Waiting at the Ferry, by E. L. Henry. 

No. 301 — Portrait of J. R., by Albert Herter. 

No. 304 — The Vampire, by Eugene Higgins. 

No. 311 — Portrait of Mr. Edward Cummings, by 
Charles Hopkinson. 

No. 317 — On Guard, by William B. Howe. 

No. 324 — Niagara, by George Inness, Jr. 

No. 327 — A Fairy Tale, by Samuel Isham. 

No. 337 — Late Afternoon, by H. Bolton Jones. 

No. 347 — The End of Day, by William S. Kendall. 

No. 352 — The Rockbound Coast, by Susan N. Ketcham. 

No. 354— The Flight Into Egypt, by William F. Kline. 

No. 356 — Le Moulin Abandonne, by Aston Knight. 

No. 357 — Retour des Crevettiers, by Augustus Koop- 
man. 

No. 362 — In the Dressing Room, by Louis Kronberg. 

No. 363 — Portrait of Mrs. John Cadwalader, by John 
Lambert. 

No. 382 — Portrait of Hon. Grover Cleveland, by Wilton 
Lock wood. 



70 ART BUILDINGS 

No. 386— The Elysian Lawn, by Will H. Low. 

No. 390 — Christmas, by Mary MacMonnies. 

No. 396 — A Game of Chess, by Walter McEwen. 

No. 401 — Death and the Captive, by M. L. Macomber. 

No. 405 — Discovery of the Mississippi River by Mar- 
quette, A. D. 1673, by J. N. Marchand (special). 

No. 408 — The Seller of Songs, by Alfred H. Maurer. 

No. 417 — Antonio Romano, by Eugene Florence 
Meeks. 

No. 420 — Portrait de Jeune Fille, by Melchers. 

No. 426 — Sunset at Queenslawn (New York), by 
Charles H. Miller. 

No. 433— Portrait of William Winter, by F. D. Mil- 
let. 

No. 440 — Cloud and Sunshine (Long Island), by 
Thomas Moran. 

No. 455 — Twin Falls of the Plaaterskill, by Charles 
Austin Needham. 

No. 458 — Breton Lane in February, by Walter Net- 
tleton. 

No. 462 — Wind-swept Hills, by G. G. Newell. 

No. 466 — Near Pasadena (Cal.), by J. C. Nicoll. 

No. 471 — Dans l'Ombre, by Elizabeth Nourse. 

No. 484 — Meditation, by Lawton S. Parker. 

No. 487 — October Woods, by Arthur Parton. 

No. 492 — Le Consent, by Frank C. Penfold. 

No. 498 — Japanese Lace Makers, by Lilla Cabot Perry. 

No. 505 — The End of the Trail, by Harry R. Poore. 

No. ^08 — Portrait of Mrs. B. C. Porter, by Benjamin 
C. ^Porter. 

No. 512 — Sunny Morning in New Jersey, by W. Mer- 
rit Post. 

No. 513 — Gathering Seaweed, by Edward H. Potthast. 

No. 515 — Day of the Races (Provincetown), by Edward 
H. Potthast. 

No. 520 — Valley of the Delaware, by Edward W. Red- 
field. 

No. 525 — The Land of the Sky, by Lillian R. Reed. 

No. 528— The End of a Stormy Day, by F. K. M. 
Rehn. 

No. 531 — Your Soldier, by Frederick Remington. 

No. 533 — Sunrise in the Temple of Abou Simbel, by 
James Rogers Rich. 

No. 539 — The Canal, by Theodore Robinson. 

No. 550 — La Commedia Umana, by Julius Rolshoven. 

No. 553 — Volcano from Cuernavaca, t>y Edward F. 
Rook. 



ART BUILDINGS 71 

No. 579— Old Dog, a Noted Crow Chief, by J. H. 

Sharp. 
No. 582 — Gathering Seaweed, by Walter Shirlaw. 
No. 591 — On the Beach, by W. Granville Smith. 
No. 599 — Low Tide (Oregon Coast), by Theodore C. 

Steels. 
No. 602 — The Old Sycamores, by Theodore C. Steels. 

No. 605 — Grand Matin, by Stewart. 

No. 618 — The Connecticut, by Allen B. Talcott. 

No. 622 — An Algerian Caravan, by Theriat. 

No. 626 — Studio Corner, by Frances Thomason. 

No. 629 — New England Landscape, by Leslie P. 

Thompson. 
No. 635 — Autumn (New England), by D. W. Tryon. 
No. 638 — Early Spring (New England) by D. W. 

Tryon. 
No. 641 — Winter Landscape, by J. H. Twaehlman. 
■No. 644 — Before the Mirror, by Eugene Paul Ulmann. 
No. 646 — Noon ; River Loing at Nemours, France, by 

R. W. Van Boskerck. 
No. 650— Little Miss Moffett, by John H. Vanderpoel. 
No. 651 — The Father Fishes up the North Sea, by 

Mary Van der Veer. 
No. 653 — The Lighthouse, by Louise Vander Weyden. 
No. 657 — A Brandywine Meadow, by Alexander T. Van 

Laer. 
No. 659 — Flight into Egypt, by Simon Harman Ved- 

der. 
No. 667 — Portrait of Master Cyrus McCormick, by 

Robert W. Vonnoh. 
No. 668— Portrait of Mrs. V., by Robert W. Vonnoh. 
No. 672— Portrait of Artist's Brother by Carl Gustav 

Waldeck. 
No. 674 — In the Path of the Sun, by Lionel Walden. 
No. 681 — Moonrise in Picardy, by Everett L. War- 
ner. 
No. 685 — From the Court of the Lions, Alhambra, by 

Marcus Waterman. 
No. 687— The Brittany Maid, by Susan Watkins. 
No. 694 — A Song of Love, by Fred'k J. Waugh. 
No. 698— The Porter of Bagdad, by Edwin Lord 

Weeks. 
No. 699 — Down Among the Dead Men, by Dan'l A. 

Wehrschmidt. 
No. 724 — Miss Julia Marlowe, by Irving R. Wiles. 
No. 727 — The Yellow Rose, by Irving R. Wiles. 
No. 733 — Promenade, by Frederick J. Wiley. 



72 ART BUILDINGS 

No. 744 — Winter, by Gustav Wolff. 
No. 750 — Early Morning, by A. H. Wyant. 
No. 754 — The Frozen Mill Race, by Chas. Morris 
Young. 

MURAL PAINTINGS. 

No. 759 — Cartoon, "Building the Temple," Memorial 

Window for George Vanderbilt, Biltmore, North 

Carolina, by Helen Maitland Armstrong. 
No. 766 — Pomona's Garden, by Ida J. Burgess. 
No. 767 — City of the Towers, by Bryson Burroughs. 
No. 774 — In Times of Peace, by William F. Kline. 
No. 775 — Lunette, "Hiawatha's Combat with the 

Wind," by E. W. Deming. 
No. 779 — Ceiling Decoration, Empire Theater, New 

York, by W. de Leftwich' Dodge. 
No. 780 — Ceiling Northwest Corner Pavilion, Library 

of Congress, by W. de Leftwich Dodge. 
No. 782 — Decorative Painting in Appellate Court, New 

York, by Joseph Lauber. 
No. 79c; — Psyche Returns from Hades, by Robert V. 

V. Sewell. 
No. 800 — Story of Psyche, by Robert V. V. Sewell. 
No. 816 — Pilgrims on the Mayflower (Mass. State 

House), by H. O. Walker. 

WATER COLORS. 

No. 824 — Portrait by Thomas P. Anschutz. 

No. 848— The Wasp and the Frolic, by Carlton T. 

Chapman. 
No. 848A — The U. S. S. Gloucester and the Torpedo 

Boat, by Carlton T. Chapman. 
No. 867 — Italian Boy's Head, by Frederic Crownin- 

shield. 
No. 870 — A Summer Night, by Elliott Daingerfield. 
No. 872— Tomb of Sultan Hasan, Cairo (Egypt), by 

Chas E. Dana. 
No. 874 — Lotus Flowers, by Geo. Walter Dawson. 
No. 883 — Moonlight in Flanders, by Charles Warren 

Eaton. 
No. 886 — New England Fishing Village, by George 

Wharton Edwards. 
No. 892 — On the Kentucky River, by W. Forsyth. 
No. 905 — Head Piece to Perdita's Lovers, by Elizabeth 

Shippen Green. 
No. 909 — Three Illustrations to Antiques, by Elizabeth 

Shippen Green. 
No. 918 — Burnt Forest, by Geo. H. Hallowell. 



ART BUILDINGS 73 

No. 926 — She May Have Carried Broomsticks, by 
Charlotte Harding. 

No. 927 — Nocturne, Rainy Midnight, by Childe Has- 
sam. 

No. 943 — Rio St. Polo, Afternoon in Venice, by Eliza- 
beth H. Ingham. . 

No. 945 — Winter, by H. Bolton Jones. 

No. 955 — Grand Canon of Arizona, by Gustav Lieb- 
scher. 

No. 961 — The Unknown Land, by Henry McCarter. ■ 

No. 967— Sand Dune on Cape Cod, by Dodge Mc- 
Knight. 

No. 986 — A Gray Day in October, by J. C. NicholL 

No. 988 — The Appointed Houf, by Rhoda Holmes 
Nicholls. 

No. 1 102 — Moorish Court, by Walter L. Palmer. 

No. ion — Street in Venice, by Maurice Prendergast. 

No. 1016 — Morning on a Flemish Canal, by John J. 
Redmond. 

No. 1021 — The Hunting Season, pen drawing by Fred- 
erick Richardson. 

No. 1044 — Children Playing, by Rosina Emmet Sher- 
wood. 

No. 1054 — After the Shower (Venice), by F. Hopkin- 
son Smith. 

No. 1059 — The Child Calendar, by Jessie Wilcox 
Smith. 

No. 1062 — The Quiet Hour, by W. Granville Smith. 

No. 1072— Mount Olivet Shepherd, by Charles S. 
Svendsen. 

No. 1074 — Cosette, by John H. Vanderpoel. 

No. 1081 — Dogs, by J. Alden Weir. 

No. 1092 — A Wave Crest, by Charles H. Woodbury. 

MINIATURES. 

No. 1 121 — Lydia, by Mrs. H. K. Bush-Brown. 

No. 1 133 — Portrait of Maud Adams as "The Pretty 

Sister of Jose," by Emma Kipling Hess. 
No. 11 56 — Six Charcoal Drawings, by Frank Mura. 
No. 1 1 77 — Lady With the Muff (pastel), by J. Seymour 

Thomas. 
No. 1 192 — The Old-fashioned Dress, by Miss R. Wor- 

rall. 

ILLUSTRATIONS. 

No. 121 5 — Chorus Girl's Return Home, by Charles 

Dana Gibson. 
No. 1234 — Unloading Wood, by Charlotte Harding. 



74 ART BUILDINGS 

No. 1235 — A Child of Nature, by Charles L. Hinton. 

No. 1245 — The Daughter of the Household, by Henry 
Hutt. 

No. 1246 — George Washington's Last Birthday, by Ar- 
thur I. Keller. 

No. 1255 — The Incomparable Bellairs. (1.) 

No. 1256 — The Incomparable Bellairs. (2.) 

No. 1257 — The Incomparable Bellairs. (3.) 
By F. X. Leyendecker. 

No. 1261 — The Auction, by Corwin L. Linson. 

No. 1264 — The Secret, by Louis Loeb. 

No. 1267 — The Venetian Courtship, by Louis Loeb. 

No. 1273 — The Rising Sun Greets the Monastery, by 
Orson Lowell. 

No. 1281 — The Forecastle of the Constitution, by H. 
Reuterdahl. 

No. 1286 — A Venetian Night, by Maxfield Parrish. 

No. 1289 — Dutch Fisherman with Water Bottle, by Ed- 
ward Penfield. 

No. 1292 — Watching the Boats, by Edward Penfield. 

No. 1304 — The Return of Sherlock Holmes, by F. D. 
Steele. 

No. 1314 — Pea-pickers on the Road, by C. Jay Taylor. 

No. 13 1 5 — Winding the Ball, by Mary Van der Veer. 

No. 1323 — Buena Vista, by R. F. Zogbaum. 

No. 1330 — Laughing Head, by J. Carroll Beckwith. 

No. 1342 — The Indian Runner, by C. W. Chadwick. 

No. 1346 — The Early Moon, by T. Carlton Chapman. 

No. 1349 — Abandoning the Ship, by T. Carlton Chap- 
man. 

No. 1358— Philip IV., by Timothy Cole. 

No. 1365 — Free State Prisoners, by John W. Evans. 

No. 1372 — Courtyard of the Golden Cross, Oxford, by 
Walter Hale. 

No 1376 — On the Maes at Rotterdam, by Walter 
Hale. 

No. 1378 — Proofreader, by E, Heinemann. 

No. 1380 — The Wedding Ring, by Thomas Hovenden. 

No. 1384 — Thomas Jefferson, by Gustav Kruell. 

No. 1385 — Robert E. Lee, by Gustav Kruell. 

No. 1432— Grandmother's Boa, by Anna Lea Merritt. 

No. 1451 — The Oyster Market, New York, by Charles 
F. W. Mielatz." 

No. 1452 — Grand Central Station, (New York) at 
Night, by Charles F. W. Mielatz. 

No. 1472— The Most Picturesque Place in the World, 
by Jos. Pennell. 



ART BUILDINGS 75 

No. 1487 — Village of Stryn, by Alexander Schilling. 

No. 1489 — On the Juniata (Pennsylvania), by Alex- 
ander Schilling. 

No. 1531 — Old Normandy House (Rouen), by Vaughan 
Trowbridge. 

No. 1556— The Harvest, by William G. Watt. 

No. 1590 — The Little Lady Sophia of Soho, by Henry 
Wolf. 

STATUARY. 

No. 1630 — Screwing up his Courage, by V. Alfano. 

No. 1636 — A Magdalen, by Clement J. Barnhorn. 

No. 1642 — Torso of a Young Girl, by Paul Wayland 
Bartlett. 

No. 1709 — Muse Finding Head of Orpheus, by Ed- 
ward Berge. 

No. 1713 — Boy Stealing Geese, by Karl T. F. Bitter. 

No. 1722 — In the Wind, by Solon Borglum. 

No. 1730 — Statue of Franklin, by John J. Boyle. 

No. 1732 — Indian Hunter, by John J. Boyle. 

No. 1734 — Relief in Bronze, by Julia Bracken. 

No. 1738 — Death of the Color Bearer, by R. P. Bring- 
hurst. 

No. 1743 — Infant Conversation, by H. K. Bush-Brown. 

No. 1745 — Sun Dial. Model to be executed in Ten- 
nessee marble for Fairmont Park, Philadelphia, by 
Alex. Stirling Calder. 

No. 1 75 1 — Nymph and Dolphin, by Paul Burleigh 
Conkling. 

No. 1758 — Incident of a Bull Fight, by Chas. Brinton 
Cox. 

No. 1 761 — Medicine Man, by Cyrus E. Dallin. 

No. 1762 — Don Quixote, by Cyrus E. Dallin. 

No. 1764 — Birth of Aphrodite, by John Flanagan. 

No. 1765 — Alma Mater, by Daniel Chester French. 

No. 1767 — Vulture of War, by Charles Grafly. 

No. 1769 — From Generation to Generation, by Charles 
Grafly. 

No. 1788 — A Collection of Small Bronzes, by Edward 
Kemeys. 

No. 1797— Deer with large Antlers, by Edward Ke- 
meys. 

No. 1801 — A Tiger, by Edward Kemeys 

No. 1805 — A Despotic Age, by Isidore Konti. 

No. 18 12 — Study of a Victory, by Evelyn B. Long- 
man. 

No. 181 7 — The Sprinter, by Charles A. Lopez. 

No. 1822 — Statue of McKinley, by Augustus Lukeman. 

No. 1823 — The Sun Cow, by Herman A. Mac Neil. 



ART BUILDINGS 77 

No. 1829 — Fame, by Ferdinand Miranda. 

No. 1865 — Three Figures for Fountain of Youth, by 

Bela L. Pratt. 
No. 1868— Drinking Rhinoceros, by F. G. R. Roth. 
No. 1889 — The Bather, by Edmond Stewardson. 
No. 1895 — Figure of a Boy, by F. M. L. Tonetti. 
No. 1906 — A Sketch, by Bessie Potter Vornoh. 
No. 191 1 — Boy and Frog, by Elsie Ward. 
No. 1912 — Pediment for New York Stock Exchange, 

by J. Q. A. Ward. 
No. 1916— A Ball Pitcher, by A. A. Weinmann. 
No. 1922 — Portrait of General W. H. Jackson, by 

George Julian Zolnay. 

APPLIED ARTS. 

Nos. 1 to 40 — Gruebey Potter. 

Nos. 128 to 153 — Merrimac Pottery. 

Nos. 159 to 245 — Moravian Pottery. 

No. 287 to 300 — Tooled Leather. 

No. 314 — "The Presentation," Stained Glass Panel. 

No. 327 — Reproduction in Embroidery of a Coptic tex- 
tile. 

Nos. 336 to 358 — Brown Glass. 

Nos. 359 to. 397 — Metal Work. 

Nos. 398 to 409 — Wrought Silver. 

Nos. 410 to 413 — Illuminated Pages. 

No. 431 — A Collection of Tiffany Favrille Pottery. 

Nos. 432 to 442 — Pottery. 

Nos. 443 to 452 — Overglaze Decoration of Porcelain. 

No. 454 — Spirit of the Revolution, Stained Glass Win- 
dow. 

No. 455 — Handrhewn Antique Norwegian Chair, Norse 
Bridal Chair. 

Nos. 457-458 — Sebatos Rugs. 

No. 459 — Sebatos Curtain.' 

No. 486 — Tiffany Favrile Enamel. 

No. 487-506 — Jewelry, exhibited and designed by Louis 
C. Tiffany. 

No. 507-518 — A collection of twelve pieces of Gold 
Rock Crystal and Enamels, some set with jewels and 
showing the use of Rose Diamonds as practiced by 
jewelers in the XVII century. 

Nos. 519-554 — Jewelry. The Cyprian glass fragments 
used in many of these pieces were found in tombs 
of the old city of Jerusalem and are 2,000 years 
old. 

Nos. 555-560 — Jewelry. (Interesting collection.) 

No. 561 — Writing Table, Chair and Silver Desk 



78 ART BUILDINGS 

Set. Table constructed of ebony, ivory and silver 

mountings. 
Nos. 562-567 — Collection of Hand-made Furniture. 
Nos. 586-598— Pottery Exhibit of the New York State 

School of Clay-working and Ceramics. 
Nos. 599-613 — Rookwood Pottery. 
Nos. 614-625 — Teco Pottery. 
Nos. 626-639 — Newcomb Pottery. 
Nos. 679-690 — Decorated China, the work of the Atlon 

Ceramic Club of Chicago. 
Nos. 725-764 — Decorated Leather. 
Nos. 763-796 — Bound Books. 

GREAT BRITAIN (E. Pavilion). 

GALLERY 70. 

Nos. 452 to 743 — Collective Display of Engravings and 
Lithographs. 

GALLERY JI. 

No. 60 — La Belle Dame sans Merci, by Frank Dicksee. 
No. 77 — Portrait of Mrs. Jas Reynolds, by Luke Fildes. 
No. 78— The Chess Player, by S. Melton Fisher. 
No. 117 — The Pilot, by C. Napier Hemy. 
No. 201 — Portrait of Sir David Stewart, by W. Q. 

Orchardson. 
No. 202 — The Fracture, by William Orpen. 
No. 246 — Corvette Shortening Sail, by Thomas Somer- 

scales. 

GALLERY 72. 

No. 30 — The Dream of Launcelot, by Sir Edward 

Burne-Jones. 
No. 89 — Portrait of Vice-Admiral Lord Charles Beres- 

ford, by Charles W. Furse. 
No. 100 — Restless Surges, by Peter Graham. 
No. 146 — Sunset After Rain, by B. W. Leader. 
No. 149— Perseus and Pegasus, by Lord Leighton. 
No. 154 — In Time of War, by G. D. Leslie. 
No. 180— Chill October, by Sir J. E. Millais. 
No. 183— Portrait of J. C. Hook, by Sir J. E. Millais. 
No. 199 — The Borgia, by W. Q. Orchardson. 
No. 213 — The Catapault, by Sir Edward Poynter. 
No. 216 — Venetian Women After Their Day's Work, 

by Val. C. Prinsep. 
No. 222 — Prince Charlie's Flight, by G. Ogilvie Reid. 
No. 226 — Aphrodite, by Hugh G. Riviere. 
No. 236 — Scene from Enoch Arden, by James Sant. 

GALLERY 73. 

No. 135— Portrait of Prof. M., by A. E. John. 



ART BUILDINGS 79 

No. 151 — Clytemnestra, by Lord Leighton. 

No. 163 — Alas, That Spring Should Vanish, by Monat 

Loudan. 
No. 191 — The Lost Piece of Silver, by David Muir- 

head. 
No. 255 — The Soldier's Return, by Marcus Stone. 

GALLERY 74. 

No. 4 — The Coliseum, by Sir Lawrence Alma-Tadema. 

No. 6 — The Shrine of Venus, by Sir Lawrence Alma- 
Tadema. 

No. 43 — Dusk, by George Clausen. 

No. 105 — Queen Victoria's Jubilee, by G. C. Haite. 

No. 118 — Near Ballantrae, by J. M. Henderson. 

No. 144 — Tucking the Rick, by H. H. La Thangue. 

No. 150 — Perseus and Andromeda, by Lord Leighton. 

No. 188— St. Alban's Race, by .Henry A. Moore. 

No. 214 — The Cave of Storm Nymphs, by Sir Edward 
Poynter. 

No. 237 — Head of Napoleon, by James Sant. 

No. 239 — Fairy Led, John Shapland. 

No. 279 — Hylas and the Nymphs, by J. W. Waterhouse. 

GALLERY 75. 

No. 39 — Queen Victoria's Funeral, by John Charlton. 

No. 67 — The Sea Maiden, by Herbert Draper. 

No. 74 — Struggling Moonbeams, by J. Farquharson. 

No. 82 — The Hay Cart, by Stanhope Forbes. 

No. 97 — Washington's Farewell to the Army, by A. C. 

Gow. 
No. 121 — The Flowing Tide, by Joseph Henderson. 
No. 164— "God Rest Ye, Merry Gentlemen," by J. 

Seymour Lucas. 
No. 168 — An Alpine Meadow, by J. Macwhirter. 
No. 271 — Rescued from the Plague, by F. W. Topham. 
No. 282 — Portrait of Sir R. Douglas Powell, by G. 

Spencer Watson. 

GALLERY j6. 

No. 21 — The Rose is Beauty, by Frank Bramley. 
No. 58— British Wild Cattle, by H. W. Davis. 
No. 99 — In the Highlands, by Peter Graham. 
No. 102 — Boulter's Lock on the Thames, by E. J. 

Gregory. 
No. 130 — Played Out, by Talbot Hughes. 
No. 203 — Portrait of Mrs. Denny, by Walter Ouless. 
No. 286— The Miniature, by J. Walter West. 

GALLERY 77. 

No. 48 — Portrait of Lady Hickman, by A. S. Cope. 
No. 88 — Return from the Ride, by Charles Furse. 



80 ART BUILDINGS 

No. 94 — Sinbad in the Valley of Diamonds, by Albert 
Goodwin. 

No. 174 — Shrimpers on the Coast of Brittany, by R. R. 
McGregor. 

No. 224 — Rival Grandfathers, by John R. Reid. 

No. 225 — Venus and Anchises, by Sir W. B. Rich- 
mond, 

No. 263 — Benedicti Novi Militis, by A. Tayler. 

GALLERIES 78, 82 AND 83. 

Decorative Panels, silks, embroideries, tapestries, etc. 

GALLERY 79. 

No. 91 — Hougomont, 1815, by Robert Gibb. 

No. 92— Saving of the Colors, by Robert Gibb. 

(Special.) 
No. 120 — Wind and Rain, by Joseph Henderson. 
No. 198— Story of" a Rose, by Chas Orchardson. 
No. 223 — The Gordon's Warning, by G. Ogilvie Reid. 

STATUARY. 

No. 768 — Innocence, by Alfred Drury. 

No. 813 — The Snake Charmer, by F. W. Pomeroy. 

GALLERY 80. 

No. 10 — A Romance, by J. H. Bacon. 

No. 72 — Summer Showers, by David Farquharson. 

No. 167 — A Land Breeze, by Alex. Maclean. 

No. 310 — Summer Day in Scotland (water color), by 

A. K. Brown. 
No. 317 — A Daughter of the South (water color), by 

A. R. Burrington. 
No. 325 — Victory (water color), by W. W. Collins. 
No. 401 — Clearing up After the Rain (water color), by 

R. B. Nisbet. 

GALLERY 8l. 

No. 350 — Before the Sitting (water color), by E. J. 
Gregory. 

No. 367 — The Dreamers (water color), by J. H. Hen- 
shall. 

No. 380 — Spettisbury Bridge (water color), by Yeend 
King. 

No. 428 — Out Across the Bay (water color), by Hely 
Smith. 

No. 448 — The Thorny Path of Knowledge (water col- 
or), by J. Walter West. 

No. 451 — Union Brigade of Waterloo (water color), 
by W. B. Wollen. 

STATUARY. 

No. 745— Love and Mermaid, by Charles J. Allen. 



ART BUILDINGS 81 

No. 802 — Hymn to Demeter, by Horace Montford. 
No. 808 — Robin Goodfellow, by Roscoe E. Mullins. 

GERMANY (East Pavilion). 

GALLERY 38. 

No. 78 — The Golden Age, by Alexander Frenz. 

No. 109 — After the Day's Work is Done, by Ernst 

Henseler. 
No. 173 — Mill in the Marshes, by Karl Liepold. 
No. 282 — Peasant's Kitchen in the Leutasch, by Walter 

Thor. 
No. 299 — Springtime, by Gustav Wendling. 

STATUARY. 

No. 449 — Cain (bronze), by Fritz Heinemann. 
No. 521 — Drinking Girl, by Ernst Wenck. 

GALLERY 39. 

No. 102 — Friesish Peasant's Room, by Richard Hagn. 
No. 393 — An Old Man (etching), by Hermann Struck. 
No. 398 — A Girl's Head, by Rudolf Thienhaus. 

GALLERY 40. 

No. 47 — Strategists, by Julius Ehrentraut. 

No. 83— On the Field of Battle, by Richard Friese. 

No. 108 — Fishing Smacks on the Beach, by Heinrich' 
Heimes. 

No. 115 — The Hero of Lueneberg, by Ludwig Herter- 
lch. 

No. 135 — Portrait of the Empress with Princess Vic- 
toria, by Fritz Kaulbach. 

STATUARY. 

No. 435 — In the Morning, by Ernst Freese. 

No. 466 — German in a Roman Circus, by Max Klein. 

GALLERY 47. 

No. 43 — Fleet at Stralsund, by Eugen Duecker. 
No. 222 — At the Entrance to Yimuiden, by Heinr. 
Petersen-Angeln. 

GALLERY 48. 

No. j6 — Beech Forest near Prerow, by P. Flickel. 
No. 232— At the Battle of Leutzen, by Wilhelm Raeu- 
ber. 

STATUARY. 

No. 430 — Two Mothers, by Heinrich Epler. 
No. 452— Dying Achilles, by E. Herter. 

GALLERIES 53 AND 54. 

Nos. 526 to 588— Architectural Drawings. 

No. 494 — Danaide (bronze), by Johannes Schilling. 



82 ART BUILDINGS 

GALLERY 55. 

No. 34 — War Conference, by Franz von Defregger. 

(special). 
No. 37 — Return of the Tyrolean Soldiers, by Frantz 

von Defregger. 
No. 174 — Portrait of Mrs. M., by Franz Lenbach. 
No. 183 — Orpheus and Eurydice, by L. von Loefftz. 
No. 195 — Iron Rolling Mill, by Adolph von Menzel. 

GALLERY 56. 

No. 13 — Holy Communion in Hessia, by K. Bantzer. 
No. 166 — March Day, by Carl Kuestner. 
No. 268 — Diana, by Raffael Schuster- Woldan. 
No. 306 — Emperor William I on His Deathbed, by A. 
von Werner. 

GALLERY 57. 

No. 226 — The Joy of Living, by Hermann Pohle. 

No. 237 — Drunken Satyrs, by Count von Reichen- 

bach. 
No. 242— Fisherman Behind a Mill, by Carl Roech- 

ling. 

GALLERY 62. 

No. 44 — After the Carnival, by A. Ech'ter. 
No. 126 — Autumnal Storm, by Max Huenten. 
No. 223 — A Visit, by Peter Philippi. 
No. 243 — Battle in the Forest, by Franz Roubaud. 
No. 271 — Courtyard in Venice, by Adolph Seel. 

GALLERY 63. 

No. 38 — Procession, by Franz von Defregger. 

No. 123 — Fishing Smacks on the Elbe, by Carl Holtz- 

apfel. 
No. 170 — On Vacation, by Anton Laupheimer. 
No. 187 — The Hour of Death, by Adolph Maennchen. 
No. 272 — Napoleon Holding a Reception at St. Cloud. 

by Franz Simm (special). 

GALLERY 64. 

No. 22 — At the Dead Sea, by Eugen Bracht. 

No. 27 — Tartar Fight, by Josel von Brandt. 

No. 122 — Evening, by August Holmberg. 

No. 231 — Portrait of Miss E., by Wilhelm Raeuber. 

GALLERY 65. 

No. 62 — Lady in Black, by Hans Fechner. 

No. 157 — Deer in the Forest, by Christian Kroener. 

No. 200 — Coal Kiln in the Mountains, by Paul Meyer- 

heim. 
No. 233 — St. Hubertus, by Wilhelm Raeuber. 
No. 312 — At the Brook, by Joseph Willroider. 



ART BUILDINGS 83 

GALLERY 66. 

No. 84 — Before the High Council, by Gebhard Fugel. 
No. 220 — Breakers, by Hans von Petersen. 
No. 287 — Cavalry Attack, by Hugo Ungewitter. 
No. 296 — Frederick the Great by the Corpse of 
Schwerin, by R. Wartnmueller. 

GALLERY 6j '. 

No. 12 — Dordrecht at Ebbtide, by H. Baisch. 

No. 75 — Anointment of the Young Witches, by Lud- 

milla von Flesch Brunningen. 
No. 130 — Battle of Worringen, by Peter Janssen. 
No. 133 — Revolution in Breslau, 1813, by A. Kampf. 
No. 254 — Atlantic Billows, by Hugo-Schnars-Alquist. 
No. 301 — European Congress at Berlin, by A. von 

Werner. 
No. 302 — Emperor William at the Mausoleum in 

Charlottenberg, by A. von Werner. 
No. 305 — His Majesty's Congratulations to Count von 

Moltke, by A. von Werner. 

HOLLAND (E. Pavilion). 

GALLERY S3- 

No. 26 — Peasant Woman at Work. 
No. 36 — At: the Spinning Wheel. 
No. 47 — A Bunch of Roses. 
No. 64 — The Scribe Israel. 
No. 71— A Nursing Mother. 
No. 02 — Marine. 
No. 118— The Old Mill Pond. 
No. 134 — Sheep and Pasture. 
No. 1. si — At Evening. 

GALLERY 34. 

No. 21 — The Joys of Home. 

No. 23— An Old Canal. 

No. 49— Mother and Child. 

No. 94 — Fishing Boats in a Haze. 

No. 116 — In the Garden. 

No. 136 — The Departing Day. 

No. 147 — Spinning. 

GALLERY 35. 

No. 38 — Fishing Boats (water color). 

No. 50— A Dutch Marsh. 

No. 54— At the Beach. 

No. 57 — A Study (water color). 

No. 69 — Winter Landscape. 



- ART BUILDINGS 85 

GALLERY 36. 

No. 26 — Mother and Babe. 
No. 31— A Dutch Maiden. 
No. 2>7 — Marine. 
No. 55 — An Interested Man. 
No. 66— At the Shepherd's Call. 

GALLERY 37. 

No. 3 — The Winter Moon. 

No. 15— At Home. 

No. 20 — The Daily Report. 

No. 34 — Landscape. 

No. 53 — The Gordon Highlanders. 

No. 146 — Farmer and Cart. 

GALLERY 58. 

No. in — Landscape. 

No. 115 — The Returning Fisherfolks. 

No. 117 — At the Stream. 

No. 127 — The Mourner. 

No. 145 — Their Feeding Ground. 

GALLERY 59. 

No. 12 — The Washerwoman. 

No. 26 — Landscape. 

No. 90 — A Ravenous Appetite. 

No. 106 — In the Forest. 

No. 154— The Old Mill. 

GALLERY 6l. 

No. 55 — The Peasant's Kitchen. 
No. 69 — Fishermen at the Wharf. 
No. 80 — Winter on the Marsh. 
No. 122 — The Woodman's Camp. 

SWEDEN (E. Pavilion). 

GALLERY 41. 

No. 7 — Shallow Water, by Olof Arborelelius. 

No. 22 — The Future Day, by K. A. Borgh. 

No. 27 — Almshouse, by Gustaf Cederstrom. 

No. 75 — Repose, by Anna Nordgren. 

No. 76 — Portrait of a Bishop, by Bernhard Osterman. 

No. 99 — Portrait, by Hildegard Thorell. 

GALLERY 42. - 

No. 26 — The Baptists, by Gustaf Cederstrom. 

No. 38— At Sunset, by Carl Hullgren. 

No. 40 — Autumn, by Carl Johansson. 

No. 48 — Twilight in the Woods, by Esther Kjerner. 



86 ART BUILDINGS 



GALLERY 43. 

No. 77 — Portrait of Mrs. B., by Bernhard Osterman. 
No. 92 — Summer Night, by Aushelm Schultzberg. 

STATUARY. 

No. 133 — Adam and Eve (plaster), by John Borjeson. 

GALLERY 44. 

No. 33 — Woman from Delecarlia, by August Hagborg. 

GALLERY 45. 

No. io6b — Portrait of Mrs. W., by A. L. Zorn. 
No. io6d — Portrait of Mrs. R. T. Crane, by A. L. Zorn. 
No. io6f — Midsummer Night at Mora, by A. L. Zorn. 
No. io6h — In the Loft Door, by A. L. Zorn. 

GALLERY 46. 

No. 59 — Brooding Eider-Duck, by Bruno Liljefors. 
No. 64 — Summer Night on the Coast of Sweden, by 

Bruno Liljefors. 
No. 70 — Winter in Sweden, by Bruno Liljefors. 
No. 71 — The Old Barn, by Bruno Liljefors. 

CANADA (E. Pavilion). 

GALLERY 49. 

No. 14 — The Tiff, by Florence Carlyle. 

No. 15 — The Milkmaid, by Frederic Challener. 

No. 17 — Flemish Fire Place, by F. S. Coburn. 

No. 34 — The Stable, by J. L. Graham. 

No. 37 — Portrait of Rev. Clark, by E. Wyly Grier. 

No. 44 — Misty Morning, by John Hammond. 

No. 63 — A Livre Ouvert, by Sophie Pemberton. 

No. 79 — Twilight of Life, by Sydney Tully. 

GALLERY 50. 

No. 2 — Woodland, by W. E. Atkinson. 

No. 7— Fraser River, by F. M. Bell-Smith. 

No. 22 — A March River, by Maurice Cullen. (Special.) 

No. 58— The Little Scribe, by Laura Muntz. 

No. 78 — Haymaking, by Owen P. Staples. 

GALLERY 51. 

No. 3 — Early Moonrisc, by J. W. Beatty, Jr. 
No. 56 — A Quebec Landscape, by Edmond Morris. 
No. 72 — Femme Drapee, by J. St. Charles. 
No. 77 — Blue Devils, by Gertrude Spurr. 

GALLERY 52. 

No. 40 — Sunset, St. John Harbour, by John Hammond. 
No. 45 — The Countess of Minto, bv Robert Harris. 
No. 86— The Bachelor, by A. C. Williamson. 
No. 113 — Misty Morning at Sea, by William Smith. 



ART BUILDINGS 87 

AUSTRIA (E. Pavilion). 

GALLERY 68. 

No. 20 — Harvest Time, by Hugo Darnaut. 
No. 24 — Birch Alley, by Hugo Darnaut. 
No. 27 — The Cross, 1809, by Albion Egger-Lienz. 
No. 45 — "Furor Teutonicus," by Paul Joanvits. 
No. 47 — Glacier Lake, by Karl Kaiser-Herbst. 
Nos. 63 to 67 — Collection, by Eduard Lebiedzki. 
No. 75 — Meadows on the Danube, by Eugene Petrovits. 
No. 98 — Witches' Sabbath, by Alois Schram. 
No. 131 — The Dwarf and the Woman, by Walter Ham- 
pel. 
No. 138 — In the Meadow, by Rudolf Konapa. 
No. 144— Before the Village, by August Roth. 

STATUARY. 

No. 270 — Shame, by Adolf Pohl. 

GALLERY I. 

No. 80 — Christmas Market at Vienna (water color), 

by Karl Pippich. 
No. 108 — On the Oise near Paris, by Joseph Sturm. 
No. in — Afternoon Sun, by Raimund Wichera. 
No. 116 — Lane in Forchtenberg (water color), by 
Eduard Zetsche. 

STATUARY. 

No. 258 — Leonardi da Vinci (plaster), by Edmund Hof- 

mann. 
No. 259 — Achilles and Penthesilea (bronze), by Arthur 

Kaan. 

At the time of going to press, the placing of the 
exhibits in this pavilion had not been completed. It 
contains many pieces of foreign statuary and is an 
important feature. 

SCULPTURE GALLERY. 

Proceeding eastward from the Art Buildings there 
is at the intersection of the two roads, a low, rough 
log cabin known as "Hardscrabble." It was built and 
occupied by Gen. U. S. Grant during his early life, 
about 1850. Across the roadway is the "House of 
Hoo-Hoo," with specious verandas and low French 
windows, built by the Lumbermen's Association and 
serving as clubhouse for its members. The route now 
leads northward to the national pavilion of 



88 



ART BUILDINGS 



GERMANY. 

"Charlottenburger Castle," one of Emperor Will- 
iam's palaces near Berlin, has served as a model for 
the main building. It is 160 feet high and occupies a 
ground space of 10,000 square feet; a number of rooms 
from this famous castle have been faithfully repro- 
duced, following the furniture and hangings of the 
original. The "Oak Gallery," "Brandenburg Cham- 
ber," "Stair Room" and "Gobelin Salon" are special 
features. The dome has an observatory from which 
visitors may obtain a view of the entire Exposition 
grounds, and a chime of big bells which sound the 
hour of the day, together with a huge searchlight, are 
installed in the dome. The restaurant pavilion is 
located to the rear of the main building, the inter- 
vening ground being laid out into a garden according 
to the highest development of German landscape art. 
Architect, Bruno Schmitz, Berlin. 

The water route to the launch landing near the 
Louisiana Purchase Monument will afford a pleasure- 
able means of reaching the main entrance from which 
a return to the city is made. 




GRAND BASIN— .Electricity Building on the left 



THIRD DAY. 

Varied Industries Building; Transportation Building, 
Machinery Building; Electricity Building. 

That portion of the main group of exhibit struc- 
tures lying west of the central thoroughfare, including 
the Varied Industries, Transportation, Machinery and 
Electricity Buildings, with their many outside attrac- 
tions, will offer an interesting tour for the visitor's 
third day. Following the guidance of the second day 
to the Plaza of St. Louis, the route first leads west- 
ward across the avenue, then south to the equestrian 
statue of De Soto by E. C. Potter of New York. 
This well modeled figure of the famous Spanish ex- 
plorer marks the main eastern entrance of the 

VARIED INDUSTRIES BUILDING. 

This structure is of nearly identical dimensions 
with its companion building, that of Manufactures, 
and covers about 14 acres. The architectural style is 
Spanish renaissance, the exterior showing an almost 
continuous line of colonnade. There are corner pa- 
vilions, monumental main entrances at the east and 
west fronts, with small turrets flanking the principal 
entrances and a portico in the center. It has a large 
square-shaped inner court and the swinging colonnade 
at the southern entrance is one of the leading archi- 
tectural features of the Fair. Dimensions, 525 by 1200 
feet. Architects, Van Brunt & Howe, of Kansas City. 
Cost, $600,000. 

Statuary — Victory, by Evelyn B. Longman, sur- 
mounting dome. Lions, by F. W. Ruckstuhl, pedes- 
tal figures at ends of swinging colonnade. Industry 
of Man and Industry of Woman, by Antonin C. Sko- 
dik, on east front. Industrial Pursuit, by John Flana- 
gan, on east and west fronts. The Torchbearers by 
Bruno L. Zimm, repeated figures ornamenting the 
swinging colonnade. Four figures, The Ages of Indus- 
try, by F. W. Ruckstuhl, on corners of building. Tym- 
panums in rear of swinging colonnade, by Douglas 
Tilden. Tympanums, by Clement J. Barnhorn, over 
east entrance. 

The principal exhibits in this building are : Sta- 
tionery, clocks, watches, jewelry, productions in 

89 



VARIED INDUSTRIES BUILDING 91 

marble, bronze, brushes, leather goods, toys, orna- 
mental woods, carving, mosaics, decorations, office and 
household furniture, paper hanging, carpets, upholstery, 
porcelains, earthenware. 

Notable Exhibits. 

Sections 87 to 97 — JAPAN — Reproduction of a Jap- 
anese temple in gorgeous colors and exquisite decor- 
ations. Suite of rooms showing quaint and curious 
interior furnishings and decorations. Rich display 
of rugs, matting and draperies, handsomely carved 
cabinets and furniture, together with ornamental vases 
in bronze and pottery. Extensive collection of china- 
ware and curios. High Japanese temple of unique 
construction containing a remarkable exhibit of 
lacquered work, vases, silks and carved ivory bric- 
a-brac. Enormous elephant tusk, 7 feet long, ex- 
quisitely carved and mounted with filigree silver 
work. There is also a large showing of plaques, 
fans, screens and pictures of oriental design and color- 
ing. (Very remarkable.) 

Sections 78 to 86— GREAT BRITAIN— Collective ex- 
hibit of handsomely decorated china. Complete cot- 
ton mills in operation, illustrating the entire process 
of manufacture. English country home of typical 
architecture, with interior furnishings of a most 
magnificent character. Interesting display of fine 
furniture and interior furnishings. Walled enclosure 
with panels of life-size paintings of famous* knights 
and ladies, containing a noteworthy exhibit of Irish 
laces and silks and satins of English manufacture. 
Unique model of a locomotive constructed of small 
glass tubes. Collective display of articles for head- 
dress and artists' materials. Notable showing of 
silverware and jeweled ornaments. Artistic col- 
lection of ornamental pottery. (Highly interesting.) 

Section i — Book-bindings and fire-proof cases for com- 
mercial uses. 

Section 3A — Ornamental booth built of brass rods and 
chains, containing an exhibit of brass furnishings. 

Section 4A — Up-to-date bar and billiard room showing 
appropriate fittings and equipment. 

Section 7 — Beautiful booth illustrative of the artistic 
uses of vari-colored marble. 

Section 4B — Exhibit of manufactured leather goods. 

Sections 10, 11, 12A and 13 — Extensive display of car- 
pets and rugs of various textures and designs. 



92 VARIED INDUSTRIES BUILDING 




VARIED INDUSTRIES BUILDING 93 

Section 13A — Interesting exhibit of brass beds, chan- 
deliers, etc. 

Section 15A — Woven wire spring manufactory in com- 
plete operation, showing process of manufacture. 

Section 69 — DENMARK — Large display of decorative 
pottery, statuettes and reliefs from antique and mod- 
ern artists. Silver mounted porcelain and hammered 
silver in original designs. 

Sections 60 to 75— GERMANY — Palace of "Kris 
Kringle," a veritable toy kingdom, containing exam- 
ples of German manufacture. Room with arched 
ceiling of sea green and blue tiling in which is shown 
a most remarkable collection of porcelains, ceramics 
and decorative chinaware. Tapestry room exquisitely 
decorated. Apartment, showing recherche furnish- 
ings illustrative of a luxurious home. Music room 
with modern fittings. The "Throne Room," a large 
hall with decorations of blue and gold, and lighted 
by magnificent stained glass dome, under which 
is placed a bronze figure of the German eagle, 
flanked by several pieces of superb statuary. This 
wonderland is enhanced by a very important exhibit 
of fine art and silverware of endless variety. Dis- 
play of architectural iron work and fine cutlery. 
Realistic models of famous German gardens arid 
restaurants. (Of great importance.) 

Sections 54 and 55 — HOLLAND — Showing of decora- 
tive articles from the realm of Queen Wilhemina. 
Diamond-cutting exhibit. (Noteworthy.) 

Section 53 — Silk weaving machinery in operation, with 
samples of product. 

Section 13B — Handsome pavilion containing display of 
playing cards. 

Sections 21 and 22 — Collective exhibit of fine furniture 
and house furnishings. 

Sections 25 and 26 — Spring couches and chairs of at- 
tractive designs. 

Section 17 — Colossal gilt barber's chair and tonsorial 
equipment of every description. 

Section 18 — Huge dome-shaped pavilion illustrating the 
usage of roofing material. 

Section 69 — HOLLAND — Very interesting exhibit of 
Dutch pottery, blue delft ware and tiling. 

Section 57 — HUNGARY — Porcelains, glassware, ma- 
jolica ware and notable productions of gold and 
silversmith's handicraft. 




FIGURE AT BASE OF LOUISIANA PURCHASE EXPOSITION 
MONUMENT 



VARIED INDUSTRIES BUILDING 95 

Sections 44, 49, 50 and 56 — ITALY — Interesting dis- 
play of art ware, pottery and ceramics. 

Section 46 — Unique booth formed of giant fountain 
pens. 

Section 47 — The "Diamond Palace," a cleverly con- 
structed booth of imitation diamonds. 

Section 45A — Massive sculptured pavilion with high 
clock tower, containing a most elaborate display of 
jewelry and art ware. 

Section 45B — Collective exhibit of fine art wares, hand- 
painted chinas and kookwood potteries. "Ecco 
Homo" decorated vase. Portrait of Wm. McKinley's 
mother. Miniature portraits on ivory and china. 
(Noteworthy.) 

Section 42 — Exhibit of the Mermod & Jaccard Jewelry 
Co. (Very important.) 

Sections 40A and 40B — Magnificent dome-crowned pa- 
vilion, housing an extensive display of cutlery. 

Section 35A — Silverware, goldware and art bronzes as 
shown by the Gorham Mfg. Co. 

Section 35B — Hand-wrought copper and enamel goods, 
old stones and hand-carved jewelry, exhibited by the 
Art Crafts' Society of Buffalo. 

Section 34 — Showing of Austrian jewelry, ornamental 
glassware and leather goods. Display of turquoise 
stones from the Silver City (N. M.) mines. Col- 
lection of hall clocks in antique and modern styles. 

Section '30 — Artistic leather furniture of various 
shapes and styles. 

Section 37 — Display of carved wood work and cabi- 
nets. 

Court (opp. Sections 85 and 89) — BRAZIL — Collect- 
ive display of jewelry, silverware and porcelains and 
leather goods. Exhibit of rough and polished dia- 
monds. 

Court (opp. Sections 6 and 7) — PERSIA — A most re- 
markable showing of carpets, rugs, brocades, velvets, 
jewelry, enamels and potteries. 

Court (opp. Sections 14 and 24) — SWITZERLAND — 
Collective exhibit of the world-tamed Swiss watches, 
wood carvings, embroideries and toys. 

Center of Court — Display of German art metal and 
porcelain articles. 
Exit from the Varied Industries Building is now 

made by the western facade which is highly decorated 

with mural paintings by Wimar H. Becker. Directly 

opposite and westward across the Plaza of St. Anthony 

appears the uniquely designed 



TRANSPORTATION BUILDING. 

The facades of this building show a pleasing adapt- 
ation of the French renaissance, its lines suggesting a 
great railway station. On the east and west fronts 
are three enormous arches which embrace over one- 
half of the entire facade. Each of these is 64 feet 
wide and 52 feet high. Through these archways four- 
teen permanent railway tracks are constructed, cover- 
ing a distance of over four miles. The dimensions are 
1,300 feet long by 525 feet wide, the area being con- 
siderably over 16 acres. It is the second in size of 
the exhibit structures. Architect, E. L. Masqueray of 
St. Louis. Cost, $700,000. 

Statuary — Transportation by Rail and Transporta- 
tion by Water, beautiful seated female figures by George 
J. Zolnay, flanking east and west entrances. Shield- 
bearers, by H. Wiehle, repeated over each of arches 
at east and west fronts. Other figures representative 
of Transportation are by F. H. Packer, Wm. Sievers 
and F. F. Harter. 

In this building will be found every known means 
of conveyance, from the old-time stage coach and the 
first steam engine to the very latest contrivances in 
air-ships, automobiles, and motor cycles. Full trains 
of cars, consisting of palace, observation, dining, draw- 
ing-room, bridal, sleeping, day, and baggage cars, with 
the very fastest engines, will be on exhibition ; also 
the very latest surface street cars. Models of the fast- 
est steamships and river craft, in working order, to- 
gether with every description of saddlery and harness, 
will be found here. 

The absence of section numbers in this building will 
be noted at once. In lieu of location signs, visitors 
will follow the aisles, as mentioned, from east to west, 
returning via the next aisle. 

Notable Exhibits. 

Aisles A and B — Collective exhibit of automobiles 

and electric vehicles. 
Aisles A and B — Large and interesting display of 

carriages, wagons and harness. 
Aisle A (north) — Mexican pack train, field artillery 

and equipment, with life-size models showing officers 

and privates in brilliant uniform. (Interesting.) 
Aisle A (north) — Native Mexican saddlery in active 

operation. 

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TRANSPORTATION BUILDING 99 

Aisle 5 — Extensive display of harness and saddlery. 

Aisle C (north side) — Collective exhibits of couplings, 
car wheels and equipment. 

Aisle C — Interurban and metropolitan street cars of 
latest models. One of novel construction is finished 
with burnished copper. 

Aisle C — Old electric car which has been in continu- 
ous service at Topeka, Kansas, since 1887. First 
cable grip ever operated on the Market street' line in 
San Francisco. 

Aisle C — Stage coach. "The Father of Interurban 
Trolley Cars," in which Horace Greely once rode. 

Aisle C — B. & O. collection of old time locomotives. 
The "Pioneer," built in 1851 and used by the Central 
R. R. of Vermont. Old "camel back" engine of 
B. & O. R. R. The "Pioneer," built by Baldwin and 
operated on the Chicago & Northwestern R. R. in 
1848. This exhibit is a most comprehensive and in- 
teresting one. Every visitor should inspect it thor» 
oughly. 

Aisle D — Large 10-wheel Rogers locomotive, the "Gov. 
Francis," with companion on next .aisle south, the 
"Director General." They represent the highest and 
most modern type of locomotive construction. 

Aisles 2 and 3 — Old style railroad and traction en- 
gines — relics of the past century. 

Aisle E (north) — First engine owned by B. & O. rail- 
way, the "Thomas Jefferson." 

Aisle E (north) — Exhibition of car heating and light- 
ing apparatus. 

Aisle E (north) — Modern freight cars, with sectional 
view of construction. 

Aisle F (north) — Empire State Express, a magnificent 
and complete train operated on the N. Y. Central 
railway. 

Aisle F (north) — Engines of one hundred years ago. 

Aisle G (north) — Model train, built expressly for the 
Missouri Pacific railway, consisting of engine and 
five cars and the most elaborate train ever con- 
structed. 

Aisles G and H — Pullman exhibit of ten modern rail- 
way coaches. Each car is finished in different kinds 
of wood and the total cost of the two trains was 
$500,000. 

Aisle F (north)— The "De Witt Clinton,"- an old time 
train with cars built after the fashion of stage 
coaches. 



Lofi 



100 TRANSPORTATION BUILDING 

Aisles 3 and 4 — Types of modern locomotives. Giant 
freight engine, built for Santa Fe system. 

Aisle F (north) — Modern locomotives for freight and 
passenger service. 

Aisle H (north) — Large Union Pacific engine with 
attached oil tank. 

Aisle H (north) — Modern camel-back engine used by 
the B. & O. railway. 

Aisle- H (north) — The "Shay" cog wheel engine, a 
recent invention. (Interesting.) 

Aisle G (center) — "The Spirit of the Twentieth Cen- 
tury," a modern locomotive mounted on a huge 
revolving turntable which weighs forty-five tons. 
This mammoth engine is propelled by electricity at 
the rate of eighty miles per hour, and is easily the 
most important sight offered in the Transportation 
Building. 

Aisle H (south) — The "Hanover" locomotive, a prod- 
uct of Germany and brought from the old country 
in parts. It is of unique construction, has attained 
a speed of eighty-five miles per hour, and is espe- 
cially notable to American visitors. 

Aisles I and J — Magnificent steam yacht, valued at 
$20,000. Naphtha, electric and steam launches. 

Aisle F (north) — Construction equipment, dump cars 
and "donkey" engines. 

Aisles I and J — Brazilian exhibit of equine equipment. 
(Very interesting.) 

Aisles I, J, K and L— Remarkable and interesting 
exhibit of Germany. Model of dock and warehouses 
of the North German Lloyd steamship line at Hobo- 
ken, N. J. Sectional views, models and photographs 
of German steamship lines. 

Aisles I, J, K and L — Model of King Edward's private 
salon car, operated by the London & Northwestern 
railway. Old coach, the "Queen Adelaide Salon Car," 
built for the consort of William IV. and fashioned 
after the style of an omnibus. Models of British 
steamships and war vessels. Silver model of the 
famous Firth bridge, valued at 1,500 pounds sterling, 
and presented to the engineer of this bridge by Sir 
Benjamin Baker. (Noteworthy.) 

Aisle I (north) — Compressed air plant in operation, 
with working brakes and switches. 

Aisles I and J — Actual sized section of the Pennsyl- 
vania railway's tunnel under the Hudson river at 
New York City. - 

Aisles I and J — Locomotive running at full speed with 



MACHINERY BUILDING 101 

indicator showing number of miles it would travel in 
an hour or minute. Traveling crane with a lifting 
capacity of 40 tons. 

Aisles J and K — Working model of freight carrier 
and elevator, operated on the plan of a moving side- 
walk. 

Aisles J and K — Interesting exhibit of transportation 
peculiar to Japan. Relief map of the island and its 
railway and steamship facilities. 

Aisles K and L — Full sized section of a Cunard liner, 
showing cabins, salons and apartments. Models of 
ocean liners, including the St. Louis, Celtic, Oceanic 
and others. 

Aisle J (north) — Chariots used in Italy, B. C, and 
gayly decorated carts now used on Holy days. 

Aisle J (north) — Transportation in the early days of 
Virginia. Primitive ox carts of rough timber used 
at one time in New Mexico. 

Aisle J (north) — Primitive methods of transportation 
in all parts of the world. The T 'Palanquin" with his- 
toric accessories. Camels or "Ships of the Desert," 
pack mules, "Llamas" of South America with their 
respective trappings and equipments. (Very inter- 
esting.) 

Aisle J — French exhibit of automobiles and various 

methods of transportation. This display is a very 

elaborate and interesting feature and should be given 

considerable time. 

Completing our visit to this odd structure and its 

interesting contents, we will now pass out of its south- 
ern entrance, and crossing the flowered avenue, enter 

the vast and dignified 

MACHINERY BUILDING. 

This is an admirably planned structure of the Span- 
ish renaissance type, with numerous turrets and towers. 
Five of these towers are 185 feet high and those at 
the main entrance rise to a height of 285 feet. They 
are beautifully illuminated at night by thousands of 
electric bulbs and powerful search lights. In its con- 
struction there are 69 trusses weighing 10 tons each, 
18 weighing 8 tons each, and 82 weighing 7 tons each. 
The dimensions are 525 by 1,000 feet, and it has an 
area of over 8 acres. Architects, Wideman, Walsh & 
Basselin, of St. Louis. Cost, $500,000. 

Statuary — Labor and Care, by Fernando Miranda, 
a massive tympanum placed over each of the six en- 



102 



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trances. Shieldbearers, eight groups by Adolph A. 
Weinman, placed over the east and north entrances. 
Light, by F. H. Frolich, flanking towers. Atlas Bear- 
ing the Globe, by Hinton R. Perry, at each of the main 
entrances. 

The principal exhibits in this building are : Steam 
engines, motors, general machinery, machine tools, en- 
gines operated by heated air, gas, petroleum, alcohol, 
water pressure and horse-power machines, wind mills 
and wind motors, marine and deep water machinery, 
wood-working and machines for working in metal, 
steam and trip hammers, machines for stamping, roll- 
ing, bending, welding, drilling, and cutting, fire engines 
and apparatus, weighing and testing machines, arsenal 
tools, and machinery used in the manufacture of arms. 

Notable Exhibits. 

Section 45 — Dynamo furnishing a portion of the motive 
power for intramural railway. 

Section 46 — Electric generating plant (2,500 h. p.). 

Section 49 — Exhibit of German dynamos and gen- 
erators. 

Section 52 — One thousand horse power steam engine 
connected with a 700 kilowatt generator. High speed 
steam engine of French manufacture making 330 
revolutions per minute. 

Section 53 — Display of water tube boilers. 

Section 48 — Four 3,500 horse power Westinghouse 
dynamos creating the electricity for night illumina- 
tions. Note the reproduction of 40-foot fly wheel 
on east front of ornamental wall surrounding ex- 
hibit. 

Sections 47 and 51 — Steam and gas engines, steam 
turbines, etc. 

Section 42 — Tangential water wheel operated by a 
stream forced through pipes at the rate of 1,200 
gallons per minute and under a pressure of 300 
pounds to the square inch. (Noteworthy.) Four- 
valve railway engine. Corliss engine, 800 horse 
power. 

Section 36 — Largest steam engine on earth. It is of 
the reciprocating pattern, weighs 500 tons, with a 
fly wheel capable of 350 revolutions per min- 
ute and weighing 112 tons. It was built by the 
Allis-Chalmers Co. at a total cost of $160,000. (Note- 
worthy.) Mammoth 5,000 horse power dynamo of 
Bullock make. 



104 MACHINERY BUILDING 

Section 33 — Air compressing machine which compresses 
1,320 feet of air per minute. Display of steam clock 
valves. 

Sections 26 and 27 — Collective displays of valves and 
lubricators. 

Section 18 — Machinery used in the manufacture of 
tools. 

Sections 10 and 19— Brass and copper appliances for 
machinery. 

Section 9 — Extensive showing of machinery for 
boring, planing and cutting steel or iron. 

Sections 8 and 14 — Collection of lathes and iron 
working machinery. 

Sections 17 and 25 — Model tool-making shop, show- 
ing 5,000-pound steam hammer and 225-ton twenty- 
foot boring and turning mill. 

Section 13 — Watch-making machinery in complete 
operation. 

Section 7 — Automatic manufacturing machinery. 
Mechanics' tools of various kinds. 

Section 12 — Die-cutting and pipe-threading machines. 

Section 6 — Bending, curving and crimping machinery. 

Section i — Conveyors for handling coal and ores. 

Section 4 — Woodworking machinery in operation. 
(Very interesting.) 

Section 3 — Tools for woodworking and knives for 
machinery. 

Section 20 — Box nailing machinery in operation. 

Section 28— Immense spirals composed of 200 sections 
of fire hose. 

Section 29 — Hoisting and carrying machinery; also 
appliances. 

Section 34 — Interesting display of pneumatic tools. 

Section 22 — Gravity conveyors for packages and small 
freight. Cooperage and woodworking machines. 

Section 30 — Sawmill plant and 'machinery in oper- 
ation. Pneumatic machinery and stationary engines. 

Section 34 — Machinery employed in the manufacture 
of rubber. ' 

Section 31 — Pulley wheel of wood fifteen feet in diam- 
eter. Power transmission machinery. 

Section 16 — Fancy booth constructed of carbonated 
grinding wheels. 

Section 24 — Drop hammers, steel presses and special 
machinery. 

Section 32 — Forgings and steel chains of various sizes 
and styles. (Interesting.) 



ELECTRICITY BUILDING 105 

Section 35 — Mechanical meters for water pipes and 

mains. 
Sections 34 and 41 — Gas manufacturing machinery and 

appliances. 
Section 43 — Miscellaneous machinery — gasoline and 

weighing machines. 

It is now necessary to cross the west lagoon. East- 
ward, and over the "Bienville" bridge is the western 
entrance of 



ELECTRICITY BUILDING. 

The architectural style is a bold treatment of the 
Corinthian order with columns that are carried well 
down toward the ground to give height to the facades 
which surround the building. There are four imposing 
entrances on each side and immense sculpture-crowned 
towers at each corner.. The center of the building is 
given over to a large open court made attractive by 
an artistic colonnade and cooled by fountains and a 
refreshing circulation of air. It has an extreme width 
of 700 feet and a depth of 600 feet, covering about 9 
acres. Architects, Walker & Kimball, of Omaha. Cost, 
$400,000. 

Statuary — Light Overcoming Darkness, heroic 
groups by Bela L. Pratt, repeated on each of the six 
towers. Light, Heat, Speed and Power, by August 
Lukeman, located on roof line. The Evolution of Elec- 
tricity, four realistic groups, by Charles Grafly, over 
main eastern entrance. 

The principal exhibits in this building are : Ma- 
chines for generating and using electricity, motor gen- 
erators, appliances and 'methods for the distribution of 
electric energy, conduits, cables, wire, switches, insu- 
lating materials, circuit breakers, electric lighting, com- 
plete installation, telegraphy and telephony, scientific 
apparatus, X-ray apparatus, electricity as applied to 
surgery and dentistry, railways, mines, sign mechan- 
ism, heating, cooking, and welding. 

Notable Exhibits. 

Section 17— BELL TELEPHONE CO.— Historical 
exhibit, showing progress of the telephone. Model 
telephone exchange serving the entire Exposition 
grounds. 



ELECTRICITY BUILDING 107 

Section 19— WIRELESS TELEGRAPHY— Interest- 
ing display by the American De Forest Co. 

Section 34— KELLOGG SWITCHBOARD CO.— 
Large exhibit of electrical contrivances and supplies. 

Section 23— WIRELESS TELEPHONE SYSTEM— 
Novel and very interesting. 

Section 25— LUX HOLOPHANE PAVILION— Con- 
taining a most extraordinary display of electric light 
fixtures, reflectors and globes. 

Section 28— GENERAL ELECTRIC CO.— Facsimile 
of the most powerful dynamo in the world (16,000 
h.p.). Electric heating and cooking apparatus. 

Section 27— EDISON EXHIBIT— Consisting of a 
large collection of electrical inventions. 

Section 27— EDISON STORAGE BATTERY CO.— 
Remarkable showing of storage batteries. 

Section 25— INDEPENDENT TELEPHONE CO.— 
Illustrating the evolution of the telephone. 

Section 36— INDIANA NOVELTY CO.— Electric 
light door plates. 

Section 23— HUTCHISON ACOUSTIC CO.— Instru- 
ments for the deaf. The acousticon and massacon. 

Section 36— X-RAY EXHIBIT— Interesting demon- 
strations by the Swett & Lewis Co. 

Section 1— TELEGRAPH PRINTING NEWS CO.— 
Electric printing telegraph system and apparatus. 

Section 14 — LIONEL MFG. CO. — Electric toys and 
novelties. Will interest the children. 

Section 10— ELECTRO-PLATING MACHINERY.— 
A novel exhibit worth seeing. 

Section 36— ELECTRIC CALCULATOR CO.— Cal- 
culating machines operated by electricity. 

Sections 4 and 7— WESTINGHOUSE ELECTRIC 
CO. — Operative electric car equipment, dynamos of 
various sizes and power, and electric railway testing 
track. 

Section 28— LIDGERWOOD MFG. CO.— Giant hoists 
operated by electricity. 

Section 6— NATIONAL ELECTRIC CO.— Huge 
dynamo (400 k. w.) and large display of electric 
machinery. Electrical equipment of the U. S. cruiser 
"Virginia." 

Section 3— STANDARD UNDERGROUND CABLE 
CO. — Model conduit and cable exhibit. 

Section 14 — Colossal traveling crane (60,000-pound 
hoist) operated by electricity. 

Section 15— BULLOCK MFG. CO.— Large display of 
dynamos and electric machinery. 



108 



ELECTRICITY BUILDING 



Section 18— U. S. INCANDESCENT LAMP CO.— 
^Complete working exhibit illustrating the manufac- 
ture of the incandescent lamp. 

Section 14— DENVER ENGINEERING WORKS.— 
Rock drill operated by electricity. 




Section 93— BAUMGART EXHIBIT— Collection of 
automatic figures controlled by electricity. 

Section 20 — Large electrically lighted map of the 
United States. 

Section 16 — JAPAN — Relief map of the Lake Bisra 
canal and electric plant at Tokio. Dynamos, tele- 
phones and electric apparatus of Japanese manu- 
facture. 



ELECTRICITY BUILDING 109 

Section 7— GREAT BRITAIN— Model of motor car 
propelled by electricity at a speed of over 100 miles 
per hour. Glow lamps used for lighting up gun 
sights in British navy at night. Large display elec- 
tric scientific instruments. 
Section 35— GERMANY — Model electro-chemical lab- 
oratory. Old alchemists' laboratory (very interest- 
ing). Display of electric scientific instruments. 
Section 23— ELECTRIC STORAGE BATTERY CO. 

— Model central station. 
Section 16— COLONIAL SIGN CO.— Electric signs 

and sign mechanism. 
Central Court— WIRELESS RAILWAY CO.— Elec- 
tric railway with surface contact. 
Section 20— CLARK & CO. — Dynamos, motors and 

machine tools driven by electricity. 
Section 3— BURNHAM, WILLIAMS & CO.— Elec- 
tric locomotives and motor trucks. 
Section 19— ATLANTA UTILITY WORKS.— Mag- 
netic separators in operation. 
Sections 37 to 41, 81 and 84— FRx\NCE — Remarkable 
collection of electric contrivances and machinery. 
Map showing the electrical improvements of Mada- 
gascar. The "Lamps Solid" (sun lamp) and a mag- 
nificent showing of electric scientific instruments. 
Section 33— STANDARD PURIFYING CO.— The 
. purification of water by electricity. 
Section 16— GOULD COUPLER CO.— Equipment for 

electrically lighting railroad cars. 
Section 25— PURDUE UNIVERSITY LABORA- 
TORY — Apparatus for electrical testing. 
Section 18 — ITALY — Wireless telegraph station under 
the direct supervision of Signor Marconi. 
Bidding farewell to the wonders of electricity, 
egress is made by the south central entrance. Turn- 
ing to the left, we will move eastward to the south- 
east corner, thence north along the front of the build- 
ing, passing a statue of Joseph Henry by John Flana- 
gan of New York. Still keeping to the left, our course 
now turns westward to the statue of Benjamin Frank- 
lin by John Boyle of New York. The swinging colon- 
nade or southern facade of Varied Industries Build- 
ing, seen from across the lagoon, will now attract your 
notice. It is surmounted by ten sculptured figures en- 
titled The Torchbearers by Bruno L. Zimm. 

Crossing "Davy Crockett" Bridge in a northerly di- 
rection, notice beneath the shelter of this handsome 



110 



ELECTRICITY BUILDING 



entrance a realistic statue of John Gobelin by E. C. 
Potter, of New York. From this point the visitor will 
proceed eastward and then north, to the left, arriving 
within a few minutes at the main entrance. 




WASHINGTON STATE BUILDING 



FOURTH DAY. 

United States Government Building; State Buildings; 
Mining Gulch; Exhibits and Surroundings. 

Interesting as have been the scenes of previous 
days, the visitor turns in sentimental anticipation, on 
this his fourth day at the Fair, to the buildings and 
immense display of our own United States and to the 
handsome structures that adorn the Plateau of States. 
Characteristic and historic buildings have been erected 
by almost every state and territory in the Union, and 
serve, not only as rallying-places and rendezvous for 
sons and daughters, but also as exhibit halls for their 
historical curiosities and a partial display of native 
resources. 

Olive street electric cars should again be utilized as 
a means of reaching the main entrance at Lindell 
avenue. That the beauties of Forest Park may be seen 
and appreciated, a short walk along the eastern bound- 
ary of the Exposition grounds to Government Hill is 
suggested as being both exhilarating and interesting. 
Admittance at this point is obtained through the en- 
trance directly opposite the 



U. S. GOVERNMENT BUILDING. 

This handsome structure is the largest ever erected 
by the Government at an exposition, being twice the 
length of the great Treasury Building at Washington. 
It is rectangular in form with projecting pavilions 
and colonnades. In design it is a combination of the 
Ionic and renaissance, with classic pediments and a 
flat dome. The outside dimensions are 250 by 750 
feet, covering an area of about six acres. Access from 
the west is obtained by means of a great flight of 
steps or terrace 100 feet wide. Architect, James Knox 
Taylor, of Washington, D. C. Cost $450,000. 

Statuary — Liberty Victorious — This superb quad- 
riga, the crowning feature of the building, is located 
at the pinnacle of the great dome. The figure, heroic, 
of "Liberty," stands with uplifted hands in a triumphal 
chariot drawn by huge horses led by two gladiators 
representing the "national strength" and leading in 
triumph "Liberty." Liberty Triumphant — This group 
repeated on each side of the colossal tympanum 



112 U. S. GOVERNMENT BUILDING 

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U. S. GOVERNMENT BUILDING 113 

which surmounts the main western entrance, shows a 
seated figure of "Liberty" holding in her hand a flam- 
ing torch of enlightenment. The American eagle is 
at her feet and there are also three small figures hold- 
ing in their hands laurel emblems of "Liberty's" vic- 
torious national youth. Youth and Advancement of 
the Nation — These groups are placed at the front of 
the building and are representative of the strength and 
vigor of America. All of the statuary on and around 
the Government Building was designed and executed 
by James F. Early of the Treasury Department, at 
Washington, D. C. 

Notable Exhibits. 

POSTOFFICE DEPARTMENT. 

Railway postal car in complete working order, show- 
ing the methods employed in handling the mails on 
the railroads throughout the United States. 

Old-fashioned stage coach that at one time carried the 
mails through a part of the Louisiana territory and 
afforded transportation to Generals Sherman and 
Sheridan. 

Account book used by Benjamin Franklin, the first 
postmaster general. 

Interesting collection of rare and priceless postage 
stamps. 

Mail sledge used in Alaska, to which is hitched a 
realistic team of stuffed Esquimaux dogs. 

Completely equipped rural delivery wagons. 

SMITHSONIAN INSTITUTE. 

Exhibit of the National Museum showing the skeletons 
of extinct monsters and a most remarkable display 
of stuffed animals, birds and reptiles. 

Stuffed specimen of the prehistoric Dinosaurus. 

Aboriginal architecture and plastic reproductions of 
old South American temples,' including the Temple 
of the Sun. Pyramid of Xochicales, and an old 
Governor's house. 

Collection of meteorites, petrified woods and min- 
erals, the latter being of special interest. 

Indian collection, consisting of native pipes, ceramics, 
musical instruments, pottery and fabrics. 

Liliputian museum, containing articles of great inter- 
est to the children. 



114 U. S. GOVERNMENT BUILDING 

NAVY DEPARTMENT. 

Exact sized model of an American battleship on which 
hourly exhibitions are given by its complement of 
men. 

Models of United States cruisers, battleships, gunboats 
and torpedo destroyers. 

Biograph pictures illustrating the duties and everyday 
life of officers and sailors. 

Architectural model of the naval academy at Annapo- 
lis, Md., now being erected at a cost of $10,000,000. 

Huge chart showing the movements of United States 
war vessels from day to day. 

AGRICULTURAL DEPARTMENT. 

Exhibit of the agricultural colleges and experiment 
stations in the United States, Alaska, Hawaii and 
Porto Rico. 

Etymological exhibit of still and live insects and the 
plants upon which they subsist. 

Tobacco plants as they grow in this and foreign coun- 
tries. 

Transparencies illustrative of the forest conditions 
that prevail in America. 

Practical inspection of meats as exhibited by the Bu- 
reau of Animal Industry. 

DEPARTMENT OF JUSTICE. 

Portraits of the Chief Justices from the time of John 
Jay to that of the present incumbent, Melville B. 
Fuller. 

Autograph papers and pardons bearing the signatures 
of Presidents Jackson, Lincoln and Grant. 

Interesting and valuable collection of old law books. 

DEPARTMENT OF STATE. 

Historical document transferring the Louisiana ter- 
ritory from France to the United States, with por- 
traits of the celebrated men who participated in the 
transaction. 

Washington's letters to Congress and the sword he 
carried throughout the Revolutionary war. 

Eye-glasses presented to Washington by General La- 
fayette, and shown, together with numerous other 
relics of these famous characters, in a separate case. 

BUREAU OF AMERICAN REPUBLICS. 
The Columbus memorial library is a prominent feature 
of the display. Another exhibit of particular in- 



U. S. GOVERNMENT BUILDING 115 

terest at present is that in relation to the construc- 
tion of the Panama canal. The exhibit contains a 
large relief map of this great work. A relief map 
of the proposed intercontinental railway, uniting 
North and South America, also is shown. 
Sample products of all the countries included in the 
bureau are exhibited and the display is further em- 
bellished by historical matter relating to Columbus 
and the discovery of America. Hundreds of pho- 
tographic views showing the progress of development 
in Latin America, with portraits of its leading men, 
form a large part of the display. 

WAR DEPARTMENT. 

Collection of weapons from the old arsenal at Spring- 
field, Mass. 

Cartridge-making machinery in full operation. 

Section of 16-inch rifle, showing mode of interior 
workmanship. 

Display of rapid-firing guns and their equipment. 

Group of life-sized wax figures of U. S. Army officers 
and privates, illustrating the various styles of uni- 
form. 

Hospital wagons and ambulances employed by the 
hospital corps of the army. 

Realistic group of stuffed and mounted army horses and 
mules, arrayed in full equipment. 

Display of small arms, swords, revolvers, rifles and 
bayonets. 

Models of lever construction and riff-raffing, illustrat- 
ing the methods of building the great levees. 

TREASURY DEPARTMENT. 

Old bonds issued in 1804, at the time of the Louisi- 
ana Purchase. 

Complete working exhibit of machinery used in the 
coining of money. 

Interesting collection of coins issued from time to 
time by the U. S. Government. 

Exhibit of national bank-notes of all denominations 
and various dates. 

Original warrant drawn on the treasury for the pur- 
chase of the Louisiana territory. 

COMMISSION OF LABOR. 

Statistical charts, maps and bound volumes of interest 
to 1 the laboring classes. 



116 U. S. GOVERNMENT BUILDING 

Colossal revolving lenses and appliances used in the 
government lighthouses. 

INTERIOR DEPARTMENT. 

Very interesting display of the early models of inven- 
tion, made by the patent office. 

Model of the first harvesting machine made in the 
year 150 B. C. 

The first sewing machine ever constructed. 

Abraham Lincoln's device for lifting steamboats off 
shoals and sand bars. 

Model of the earliest steam engine built in Egypt, 150 
B. C. 

LIBRARY OF CONGRESS. 

Large model of the magnificent building occupied by 
the Library of Congress at Washington. 

Interesting collection of rare volumes and photo- 
graphs. 

U. S. GUNS. 

This interesting display consists of seven big guns, such 
as are used on the government's seaboard fortifica- 
tions. On the hill above the government building are 
placed two pieces. One a 12-inch breech loading 
rifle on disappearing carriage, the other a 6-inch 
rifle, both guns being trained upon the T. P. A. 
pavilion. On the lower plateau are installed a 7-inch 
howitzer on a wooden platform, with breastworks 
in front ; 7-inch mortar on wooden platform and a 
12-inch mortar on concrete foundation. This latter 
gun fires a projectile to a height of four miles in 
the air and drops it within a range of from one to 
eight miles. A 15-pounder rapid-fire barbette and a 
6-inch barbette gun complete the artillery equip- 
ment. The 12-inch rifle weighs 212 tons, the largest 
single piece of the gun weighing sixty tons. The 
6-inch rifle weighs seventy-five tons. Close to the 
guns will be noticed the machinery by which the 
officers communicate with the men behind the guns, 
these instruments including the telephone, the telauto- 
graph, the azimuth and the range finders. 
Passing out of the Government Building by its 
south center entrance, and proceeding southward up 
the monumental stairway, the visitor will pass between 
heroic statues of Napoleon and Jefferson which occupy 
pedestals on the line of the balustrades. The figure of 
Jefferson, to the right, was modeled by James E. 



STATE BUILDINGS 117 

Fraser, of New York; that of Napoleon, to the left, 
by John Gelert, of New York. Rising in majestic 
grandeur at the terminal of Commonwealth avenue 
will be noticed the state building of 

MISSOURI. 

"Roman architecture with an American feeling" 
expresses the architect's idea of this magnificent struc- 
ture. The dimensions are 160 by 312 feet. The build- 
ing is completely surrounded on two floors by balconies 
and porches, which afford a promenade and a view of 
the Exposition grounds from all sides. Another prom- 
enade, 15 feet wide, surrounds the dome at its base, 
130 feet above the ground level. The lofty gilded 
dome, 180 feet high, is crowned by Miss Carrie Wood's 
sculptured creation, entitled, The Spirit of Mis- 
souri, a female figure in flowing draperies, bearing 
in her upraised hand a laurel wreath. Noteworthy 
features of the building are architectural recesses which 
flank the main structure to the east and west and 
are used as exhibition halls for showing the general 
resources of Missouri. In front of each recess are 
massive groups of statuary — that to the east repre- 
senting Agriculture, by Richard Bock, of Chicago, 
and that to the west Mining, by John Mulligan, 
also of Chicago. The "Bears," which hold a place 
on Missouri's seal and are located on either side of 
the landings, were designed by Edward Kemys, the 
famous animal sculptor of Washington, D. C. Two 
figures, Love and Strength, are placed to right 
and left of the main entrance. The Hall of State is 
reached through the main rotunda and has a seating 
capacity of nearly 1,000 persons ; it is handsomely 
decorated and used for receptions, lectures and as an 
assembly room. Every convenience is offered to the 
visitor, including post office, Check room, register desk, 
information bureau, and lavatories. Cost, $200,000. Ar- 
chitect, Isaac S. Taylor, of St. Louis. 

Westward across the boulevard is the state building 
of 

LOUISIANA. 

An exact reproduction of the famous Cabildo, 
erected in 1795 and still standing at New Orleans, in 
which the formal transfer of the Louisiana Territory 
was made in 1803, has appropriately been chosen by 
this state. The furnishings throughout are of the style 



STATE BUILDINGS 119 

and period of the eighteenth century. In the Su- 
preme Court room, where the transfers were signed, 
is exhibited a fac simile of the treaty between' France 
and the United States, bearing the signatures of Liv- 
ingston, Monroe and Marbois. There are also por- 
traits of the signers together with those of Jefferson, 
Napoleon, Salcedo, Laussat, Wilkinson and Claiborne. 
Placed in the court yard is an original stone filter 
with drinking monkeys, and in one of the cells of 
the prison are the identical stocks used by the Span- 
iards in punishing their criminals. The lower room 
serves as a reception and reading room, while toilet 
rooms for the ladies are found on the second floor. 
Architect, Wm. A. Freret, of New Orleans. 

South, and adjoining Louisiana's building, is that of 

WISCONSIN. 

Built in the English style of domestic architecture, 
this structure is two stories high with wide verandas 
on each side. Exquisitely appointed and handsomely 
furnished reception rooms are open for the enter- 
tainment of guests. Architects, Ferry & Claes, of Mil- 
waukee. 

Next, across the roadway, is noticed the magnifi- 
cent structure representing 

OHIO. 

Having in mind the commemoration of the Louis- 
iana Purchase the architect of this handsome club 
house has most appropriately employed the French 
renaissance type of architecture. A series of terraces 
lead up to the main entrance, where by passing be- 
tween six large columns, 30 feet high, the visitor en- 
ters the rotunda which is two stories high and finished 
with a domed ceiling. There are apartments for the 
ladies, smoking rooms, hospital room, check rooms, 
and at the extreme end of the corridor is the room 
of state, where social functions are held. Quarters 
for the Governor and members of the commission are 
located on the second floor. Architect, Frank L. Pack- 
ard, of Columbus. 

Farther south is the home of 

MASSACHUSETTS. 

This building is a composition of old colonial styles 
with many features of historic interest. The facade is 
a partial reproduction of the State Capitol, and two 



120 STATE BUILDINGS 

of its interior rooms are copies of the old Massachu- 
setts Senate Chamber and House of Representatives. 
The porches at either end are similar to those of the 
old Longfellow house at Cambridge. The rooms are 
furnished with old heirlooms dear to colonial memo- 
ries, and in the historical room on the second floor are 
shown cherished relics and mementoes of early Massa- 
chusetts history. Architect, C. Howard Waller, of 
Boston. 

Opposite is the handsome state building of 

NEW YORK. 

For this building was selected an imposing colonial 
style of marked dignity and simplicity, planned in sym- 
pathy with Jefferson's designs as seen in the Uni- 
versity of Virginia and other works of which he was 
the architect. Flanking the low dome are four sculp- 
tured quadriga, by Philip Martiny, typifying the 
March of Progress. The Grand Hall, 60 by 60 
feet, is arched and domed in a Roman manner with 
galleries around the second story. In this hall are 
placed four large paintings which symbolize the four 
original owners, the Indians, Spanish, French, and 
Americans, together with pictures emblematic of the 
four original states included in the Louisiana Purchase 
and their products and manufactures. A large foun- 
tain in the form of a river god controlling the sea, 
typifying the Mississippi River, is placed in the east- 
ern facade. Native shrubs and flowers ornament the 
grounds which have been made peculiarly interesting. 
Appointments and conveniences are generous and every 
courtesy is extended to visitors. Architect, Clarence 
Luce, of New York City. 

South, and across Constitution avenue, is the state 
pavilion of 

KANSAS. 

Guests are here welcomed to a pretty pavilion of 
domestic style, two stories high, with three general en- 
trances leading to a large central hall. On the second 
floor are commodious reception rooms which are also 
used for state historical exhibits. A commanding view 
of two avenues is obtainable from the inviting porches 
at the northernmost entrance. Architect, W. W. Rose, 
of Kansas City, Kansas. 

East, just over the Plaza of States, notice the club- 
house of 



STATE BUILDINGS 121 

MINNESOTA. 

An imposing structure of the Byzantine style, two 
stories high and 90 by no feet in area represents this 
state. A terraced garden surrounds three sides of 
the building, upon which fronts the main reception 
room. The furniture, fixtures and ornamentation were 
furnished by different arts and crafts and art societies 
of the state. Architects, Reed & Stem, of St. Paul. 

Next, and facing the plaza, appears the state build- 
ing of 

IOWA. 

Of Corinthian design, this building is a combination 
of the old capitol at Iowa City and of the new one 
at Des Moines. It is two stories high with large cen- 
tral dome and semicircular colonnade porches at each 
end. Six big Corinthian columns supporting a classic 
pediment form the main entrance, and the rotunda, 
100 feet high, is surrounded on the second floor by an 
observation gallery. Every convenience will be found 
here and a cool promenade is offered on both the first 
and second story levels. Architects, Proudfoot & Bird, 
of Des Moines. 

South, and adjoining Iowa's structure, is that of 

/ 

MISSISSIPPI. 

This quaint structure is a copy of "Beauvoir," the 
plantation house in which Jefferson Davis spent the 
last days of his life, and where he wrote ''The Rise 
and Fall of the Southern Confederacy." Ample 
porches, cool and well shaded, offer to Southern guests 
an admirable retreat where reminiscences of their 
famous leader may be repeated again and again. Ar- 
chitect, John F. Barnes, of Jackson. 

Across the avenue, attention is called to the pavilion 
of 

ARIZONA. 

The prominent feature of this pavilion is an arcade 
of four arches and shaped like a horse shoe. Native 
ores and minerals are set in the mouldings and the 
columns are constructed of onyx. Architect, W. R. 
Norton, of Phoenix. 

At the turn of the boulevard is located the structure 
which represents the 



122 STATE BUILDINGS 



INDIAN TERRITORY. 

This is a two-story building of Doric architectural 
treatment with fiat dome and a main entrance formed 
by four beautiful columns. On the second floor, above 
the lobby, is a large assembly hall w r ith stage and foyer, 
while the exhibit rooms and those used for exposition 
conveniences are located on the ground floor, just off 
the lobby. Architects, Sudhoelter & Rue, of Mus- 
kogee. 

Around the turn is the building erected by 

UTAH. 

A well modeled structure of colonial design, with 
spacious entrances and shady surroundings is Utah's 
club house. Architect, S. T. Whittaker, of Salt Lake. 

Southwest is the 

INSIDE INN. 

Accommodations for 6,000 guests are offered here, 
the rates varying from $1.50 to $2.50 per day, includ- 
ing the admission charge of 50 cents. Rooms with 
bath may be secured at from $3.50 to $5.50 per day, 
according to location and size. Breakfast and lunch- 
eons 'are 50 cents and evening dinners will be served 
for 75 cents. Meals are also prepared a la carte at 
moderate prices. 

North of Utah's building is that of 

NEW JERSEY. 

Ford's old tavern at Morristown, which at one time 
during the Revolution was Gen. Washington's head- 
quarters, has served as a model for this pavilion. The 
style is colonial, with broad verandas and quaint, win- 
dows. In the main hall is an old fashioned fireplace 
and many interesting relics of historic value. An- 
tique furniture and wall papers of colonial patterns 
adorn the several apartments, and the bed chamber 
occupied by Washington is faithfully reproduced on 
the second floor. Architect, Charles A. Gifford, of 
New York. 

At the intersection of Colonial avenue, and west, 
will be noticed the state building of 

INDIANA. 

An up-to-date club pavilion of the French renais- 
sance type with a portico entrance highly ornamented 



STATE BUILDINGS 123 

and supported by large columns has been chosen by 
this state. Over the grand staircase rises a dome of 
stained glass, forming a part of the roof. Immense 
porches at either end and the lounging hall, 25 by 52 
feet, offer hospitable resting places to the weary visitor. 
The reception room decorated with historical relics, 
is located on. the second floor, together with the offices 
and quarters of the commission and officials. Architect, 
Marshall S. Muhurin, of Fort Wayne. 

Opposite, and north, is the structure representing 

ARKANSAS. 

A unique cross-shaped cottage has been fashioned 
after the style of Southern colonial homes, 150 by 150 
feet in area and two stories high, with broad sweep- 
ing verandas on all sides. The fireplace is tiled with 
native marble and over the mantlepiece of Eureka 
Springs onyx, is a clock, the case of which is con- 
structed of irregular Hot Springs crystals. Photo- 
graphs of typical Arkansas scenes in carved wood 
frames adorn the walls. Reception, smoking and read- 
ing rooms offer every convenience to visitors. Archi- 
tect, F. W. Gibbs, of Little Rock. 

Adjoining Arkansas on the west is the building 
erected by 

CONNECTICUT. 

The home of a Connecticut gentleman of the nine- 
teenth century with circular walks and flower gardens 
in front is here represented. Woodwork from the old 
Slater house at Norwich has been used on the en- 
trance doorway and in the large parlor. A large ve- 
randa in colonial style is reached from a staircase 
landing and will prove a most attractive resting place. 
Its two stories contain parlor, library, dining room and 
bed rooms for members of the state commission. Ar- 
chitect, Edward Hapgood, of Hartford. 

South, and across the avenue, is the home of 

RHODE ISLAND. 

This building is colonial in design with large piazzas 
and a commodious roof garden. The main staircase 
is finished in mahogany with old ivory trimmings, 
and the mantels are copies of some old colonial speci- 
mens. There are the usual conveniences for guests 




PENNSYLVANIA STATE BUILDING 



STATE BUILDINGS 125 

and a large state room on the second floor. Archi- 
tects, Thornton & Thornton, of Providence. 
Opposite Rhode Island's building is that of 

PENNSYLVANIA. 

Classical in design, with spacious colonnade porches 
at each end and surmounted by a large square dome, 
the Keystone state's building is one of the most at- 
tractive on the Plateau. Statues of William Penn 
stand at the front and rear entrances, and occupy- 
ing a place of honor in the large rotunda is the fa- 
mous Liberty Bell. Reception rooms are located on 
the first floor and a large auditorium and art gallery 
will be found on the second story. Architect, Philip 
H. Johnson, of Philadelphia. 

Across the avenue will be seen the state building of 

NEVADA. 

This is a well appointed two story pavilion of the 
colonial type, with large porches and modern con- 
veniences. Architect, J. C. Broderick, of St. Louis. 

Proceeding westward to the avenue's northern turn, 
the next state building represents 

MAINE. 

A typical hunting lodge has here been constructed 
entirely of logs brought from the state's immense 
pineries, with chimneys built of native rocks. The 
interior walls are profusely hung with photographs 
and water colors of the picturesque bits of forest 
and shore peculiar to the state. Architect, John Calvin, 
of Portland. 

Occupying the ravine to the left hand is the 

MINING GULCH. 

Every feature of this Gulch should be seen as it 
is the greatest and most complete outdoor mining 
exhibit ever made. To those unfamiliar with the sub- 
ject, the displays, both above and below ground, will 
prove highly interesting. Among the notable exhibits 
are : New Mexico's torquoise mine ; Idaho opal mine ; 
Pennsylvania oil wells ; Black Hills reduction works 
and stamp mill ; Coal mine in operation ; Old Mexican 
methods of mining ; Ancient methods of smelting cop- 
per as produced by Mexican Indians in 1500; Missouri 
zinc and lead mines. 



126 STATE BUILDINGS 

At the intersection of Constitution avenue, near 
rustic bridge, is the home of . c 

NEW MEXICO. 

The design chosen for this building is after the 
style of an old Spanish mission. The dimensions are 
50 by 70 feet with a frontage on the boulevard. There 
are reception rooms, waiting rooms and quarters for 
the state commission. The surrounding grounds are 
laid out in typical gardens, splendid specimens of cacti 
are shown and many of the most beautiful flowers of 
New Mexico embellish the place. Architect, T. H. 
Rapp, of Las Vegas. 

Across the roadway appears the state pavilion of 

MONTANA. 

This handsome edifice of modified Doric archi- 
tecture exemplifies the strength and grandeur of the 
"copper state." The reception hall and rotunda ex- 
tends the full length of the building, being divided by 
richly decorated ornamental columns. Plaster casts 
of Montana pioneers and celebrities are placed in the' 
rotunda, and the entire dome is covered with burnished 
copper from native mines. Architect, J. C. Link, of 
Butte. 

Proceeding eastward to the right, the next struc- 
ture is that erected by 

WEST VIRGINIA. 

The design of this club house is colonial with 
classical domes on corners and a larger dome in the 
center of the roof which forms an observatory. Three 
broad porches with large columns give the building its 
massive and imposing appearance. A large recep- 
tion room covers about one-third of the ground floor, 
with ladies' toilet rooms to the left on entering, and 
commissioners' rooms to the right ; smoking and in- 
formation rooms are in the rear. Exhibition rooms 
and the large banquet hall occupy a major portion 
of the second floor. Architects, Giesly & Harris, of 
Wheeling. 

Adjoining West Virginia's building on the east is 
that of 

MARYLAND. 

This structure was originally erected at the Charles- 
ton Exposition. It is of the Italian renaissance type, 



STATE BUILDINGS 127 

and offers from a large terrace at the western side a 
splendid view of the government bird display. Archi- 
tects, Ellicott & Emmeret, of Baltimore. 

The building across the avenue represents 

OKLAHOMA. 

A composite Corinthian effect has been admirably 
planned and carried out by the architect of this build- 
ing. Large porches with wide ornamental arcades 
surround the front of both floors, and a view of the 
immense reception hall may be obtained from the wide 
gallery on the second floor. Architect, A. J. Miller, 
of Oklahoma City. 

Visitors will now proceed eastward and turn north, 
after passing the New York building upon Constitu- 
tion avenue. Taking "The Trail" westward from the 
Wisconsin building, the first structure noted is the 

T. P. A. PAVILION. 

The headquarters of the Traveling Passenger 
Agents' Association is an elaborate structure of two 
stories with lounging room, billiard room, assembly 
hall and dining room, each 32 by 72 feet in dimen- 
sions. It was designed by Louis T. La Beaume, of St. 
Louis. 

Next, across the road, is the 

UNITED STATES BIRD CAGE. 

Live specimens of almost every feathered inhabitant 
known to America are housed in this cage which is 
constructed of steel at the cost of $14,000. The trusses 
supporting it have a span of 100 feet. Through the 
entire length, 300 feet, is a walk or tunnel 16 feet wide, 
arched with wire netting so that visitors may walk 
directly through the cage and obtain a close view of 
its occupants. 

North, is the building which represents 

WASHINGTON. 

This unique pavilion, or wigwam, typical of the 
state's vast timber resources, towers to a height of 
114 feet at the flagstaff base. In construction it is a 
skeleton pyramid of eight faces supporting five floors 
of one compartment each. On the second floor are 
several large paintings by Julian E. Itter, Seattle. They 
portray the scenic beauty of Washington and are 



128 STATE BUILDINGS 

valued at $20,000. An elevator, operating through the 
center of the pavilion, carries passengers to the ob- 
servatory above, where a bird's eye view of the entire 
exposition grounds is secured. Architects, Heide & 
De Neuf, of Seattle. 

Opposite is the commodious club-house of 

MICHIGAN. 

A handsome two story builidng is 95 by 140 feet, 
with an architectural motif consisting of Greek pedi- 
ments supported by four fine Ionic columns. There are 
large reception and lounging rooms, quarters for the 
state commission and every possible convenience for 
visitors. Architect, Edward A. Boyd, of Lansing. 

South, and adjoining, is the state building of 

VERMONT. 

It is a reproduction of the old Constitution House, 
or tavern, at Windsor, where the state's constitution 
was formulated, July 8th, 1777. The legislature having 
failed to make an appropriation, the building was erect- 
ed by public subscription. Supervising architect, Ar- 
thur C. Jackson. 

Further south is seen the building which represents 

NEW HAMPSHIRE. 

The historic birthplace of Daniel Webster, at Sauls- 
bury, is here reproduced. It is a two and one-half 
story building with commodious rooms which are fur- 
nished with rare specimens of colonial furniture and 
decorations. Like that of Vermont, this structure was 
erected by private subscription. Supervising architect, 
Arthur C. Jackson. 

•The ornate building opposite Michigan is the 

U. S. FISH PAVILION. 

In design this is a reproduction of an old Roman 
dwelling of the Pompeiian type. It contains the dis- 
play of the United States Fish Commission, embrac- 
ing specimens of the finny tribe from the United States 
and foreign possessions. In two of the larger tanks 
are shown a sea monster known as the "Electric 
Light" fish, and "Reggie," the sea serpent. 

Next will be seen the 



STATE BUILDINGS 129 



METAL PAVILION. 

This structure contains an extensive display of 
metals, both in the rough and finishe'd state. 

Just across the roadway is the handsome building of 

KENTUCKY. 

The "New Kentucky Home," a striking piece of 
renaissance architecture, with massive porches flanked 
by sculptured groups symbolical of the state's resources, 
is a home of which "Blue Grass" visitors have reason 
to be proud. Its principal feature is the large recep- 
tion hall having a mosaic center floor piece, 26 feet 
square, showing the counties of Kentucky in different 
colored marbles. The roof and outer galleries are 
accessible by the grand staircase and there are rooms 
for the ladies on the second floor. Architects, Mac- 
Donald & Sheblessy, of Louisville. 

Situated around the roadway's turn, is seen the 
striking structure erected by 

TEXAS. 

The state's symbol suggested the design for this 
building which is shaped like a five pointed star and 
surmounted by a dome 132 feet high. At the end 
of the five points are two columns, indicative of in- 
dustries and supporting statues of Texas heroes. A 
miniature of the famous Alamo fountain at San An- 
tonio is located in the rotunda, surrounded by a basin 
containing specimens of all the water plants peculiar 
to the Lone Star state. Crowning the dome, around 
which is an inviting promenade, is a large statue of 
the Goddess of Liberty holding aloft a five pointed 
star. Architect, Chas. H. Page, Jr., of Austin. 

Opposite that of Texas is the state building of 

SOUTH DAKOTA. 

It is a homelike pavilion, two stories high, occupy- 
ing a ground space of 74 by 86 feet. Two large 
porches furnish an ideal resting place and observatory. 
The interior decorations are constructed entirely of 
corn, the leading product of the state, and the pavilion 
is finished with Yankton cement. In the main ex- 
hibition room is a relief map of the famous Black 
Hills mining region. Architects, W. L. Dow & T Son, 
of Sioux City. 



130 



STATE BUILDINGS 



The next building is that of the Swedenborg creed, 
which is adjoined on the northwest by the state pavilion 
of 

OREGON. 

The buildings and stockade occupied by Lewis and 
Clark in the winter of 1804-5, which were known as 
Fort Clatsop, have been reproduced as Oregon's state 
building. This fort w r as erected by the explorers' party 
at the mouth of the Columbia river on territory owned 
by the Clatsop Indians and was the first structure built 
on Oregon soil by white men. The timbers and ma- 
terial of which it is constructed were obtained at a 
point near the original site of the old fort. Archi- 
tects, JWidden & Lewis, of Portland. 

Steps may now be retraced to Commonwealth ave- 
nue, then to the state entrance at Concourse Drive and 
Clayton Road, near the Arizona pavilion where trans- 
portation by electric cars to any part of the city is 
afforded. Another means of reaching the exits from 
this point is by one of the "automobile chairs" from 
the southern doorway of Kentucky's building. They 
may be occupied by two persons and are rented for 
fifty cents per hour. 







NEW YORK STATE BUILDING 



FIFTH DAY. 

Horticulture Building; Agriculture Building; Philip- 
pine Reservation; Foreign Buildings; University 
Buildings; Forestry, Fish and Game Building; U. S. 
Map in Growing Crops; Anthropology and Eth- 
nology Exhibits; Physical Culture Exhibit. 

The many attractions offered for the fifth day's 
visit are so varied and of such great importance that 
one should start early and make preparations to re- 
main late. Aside from the numberless exhibits shown 
in Horticulture, Agriculture, Forestry, Fish and Game, 
Anthropology and Physical Culture buildings, the Live 
Stock display and that of nurserymen and seedsmen 
will prove interesting. The Philippine Reservation, 
however, is undoubtedly the greatest attraction of the 
day, and the Foreign buildings, especially those of 
Ceylon, France, England and China, with their his- 
toric contents should be carefully inspected. 

Laclede, Taylor or Market street electric cars may 
be utilized as a means of reaching the main southern, 
or Agriculture entrance, at the intersection of Oak- 
land and McCausland avenues. Through this entrance 
the route follows University avenue, a main thorough- 
fare leading northward. Located on the left are the 
sheds and pens of the Live Stock Exhibit, containing 
many prize specimens of cattle, horses, sheep and hogs. 
To the right is a large collection of California wild 
animals. Reaching the first bridge, a sharp turn is 
taken westward to the left, then north, upon the path- 
way which leads up to the southern doorway of 

THE HORTICULTURE BUILDING. 

This is an admirably planned structure of the 
Corinthian type, with wings extending from the east 
and west ends. The dimensions are 400 by 600 feet, 
the entire building covering an area of over six acres. 
Architect, E. L. Masqneray, of St. Louis. Cost, $225,- 
000. 

The main central poriion of the structure, 400 feet 
square and covering a space of 40,000 square feet, is 
devoted entirely to table exhibits of fresh fruits. In 
the east wing is the Conservatory, 204 by 235 feet in 
area and 40 feet high, which contains almost every 

131 



132 



HORTICULTURE BUILDING 




HORTICULTURE BUILDING 133 

known variety of tropical and semi-tropical plants and 
flowers. The west wing is given over to the display 
of cut flowers and horticultural machinery. Outside 
exhibits are located on Agriculture Hill, a fifty acre 
tract surrounding the Horticulture and Agriculture 
buildings. These exhibits are made by nurserymen and 
seedsmen throughout the country and include a large 
variety of trees, plants, flowers and bulbs. In this 
area there are planted over 17,000 roses and 100,000 
bulbs. In the lakes which cover an area of more than 
two acres are shown the rarest and most beautiful 
aquatic plants in existence. 

The principal exhibits are : Seeds and plants for 
gardens and nurseries, fruit culture, small fruits, trees, 
shrubs, ornamental plants and flowers, implements used 
in the culture of the vine, methods of wine-making, 
viticulture and floriculture, tools for gardeners and 
nurserymen, apparatus and objects for ornamenting 
gardens, greenhouses, heating apparatus, landscape ar- 
chitecture and aquariums. 

Notable Exhibits. 

Section 44— PENNSYLVANIA— Large display of cut 
flowers, nuts and fresh fruits. 

Section 46 — MINNESOTA — Great variety of processed 
fruits. 

Sections 40 and 43 — NEW YORK — Exhibit of fresh 
and processed fruits. 

Section 47 — WASHINGTON — Specimens of processed 
and fresh fruits and vegetables. Stocks of rhubarb 
6 inches in circumference and 2^ feet long. Cher- 
ries 3^ inches in circumference. 

Sections 39 and 48 — COLORADO — Exhibit of fresh 
fruits and vegetables, contained in a handsome pa- 
vilion. 

Section 49 — IDAHO — Remarkable exhibit of fresh and 
processed fruits. Jar containing what is said to be 
the largest bunch of grapes ever grown. 

Section 34 — TEXAS — Collection of fruits and nuts 
indigenous to the state. 

Section 55 — PORTUGAL — Interesting display of nuts 
and fruit. 

Sections 32 and 33 — VIRGINIA — Beautiful pavilion 
and an extensive showing of fruits, both fresh and 
processed. 

Section 23 — LOUISIANA — Noteworthy exhibit of 
pineapples, sugar cane and fruit of every kind. 



AGRICULTURE BUILDING 135 

Sections i to 3 and 19 to 22 — CALIFORNIA — An 
extraordinary showing of fresh, dried and processed 
fruits, consisting of more than one hundred varieties. 
Huge elephant constructed of English walnuts. Nut 
polishing machine in operation. Reproduction of the 
state house at Sacramento, the outer walls being 
composed entirely of almond nuts. 
Section 6 — NEBRASKA — Unique rustic pavilion in 

which is housed a large exhibit of fresh fruits. 
Section ii — TENNESSEE — Handsome display of 

fruits and vegetables. 
Sections 10, 13 and 27 to 29 — MISSOURI — A very 
large and comprehensive exhibit of fresh and 
processed fruits and vegetables. The pavilion is 
worthy of note and is surrounded by an elevated 
train which runs at full speed and is loaded with 
many varieties of fresh fruit. Jar of tomatoes 
showing the various ripening stages. Monster 
stalks of rhubarb and celery. 
Sections 30 and 41 — ILLINOIS — Beautiful pavilion 
containing a very large and noteworthy display of 
native fruits, cut flowers and plants. 
Section 15 — ARKANSAS — Large display of fruit, both 

fresh and processed. 
Sections 32 and 33 — VIRGINIA— Special exhibit of 

fresh fruits, nuts and vegetables. 
Section 52 — CANADA — Large showing of fresh ap- 
ples. 
Section 25 — Palm and fern ornamental center piece. 

From the Horticulture building the visitor will now 
proceed to the largest structure erected for Exposi- 
tion purposes, covering twenty acres of ground and 
crowning a beautiful eminence to the north — 

THE AGRICULTURE BUILDING. 

A walk of three quarters of a mile will be required 
to pass around the outside of this building. It is ten 
times the size of Madison Square Garden, covers 
twenty times the space occupied by the Waldorf-As- 
toria Hotel of New York, forty times as much ground 
as the- Planters House in St. Louis, over twice that of 
St. Peters Cathedral at Rome and more than three 
times that of the Coliseum at Rome. The architec- 
tural style is Ionic and it is over 1,600 feet long and 
500 feet wide. Architect, E. L. Masqueray, of St. 
Louis. Cost, $550/300. 



136 



AGRICULTURE BUILDING 








u 



AGRICULTURE BUILDING 137 

Entering its southern portal the exhibits are found 
arranged along broad aisles which extend the en- 
tire length of the building. They include ltot only 
agricultural products, but everything used for food 
and drink, as well as farming implements, dairy and 
agricultural exhibits, and the machinery and processes 
by which the products of the farm are converted into 
manufactured commodities. 

Notable Exhibits. 

Sections 6 to 12 and 24 to 29 — Collective exhibit of 
high-class farming implements and machinery. 

Section 41 — UTAH — Panoramic view of Salt Lake 
valley and the Wasatch mountain range. (Very in- 
teresting.)- 

Section 44— WYOMING— Alfalfa plant with roots 
11 feet long. 

Section 42— OKLAHOMA— Giant stalks of corn 18 
feet high. 

Section 47 — ILLINOIS — Large display of agricultural 
products. 

Section 61 — MICHIGAN — Neatly constructed booth 
containing a very interesting display of wool, grain 
and cereal foods. 

Section 62 — IDAHO — Handsome pavilion decorated 
with cut grains and vegetables. 

Section 60— NORTH DAKOTA— The original "Roose- 
velt" cabin which was built and occupied by the 
President while a cattle owner, in 1883-1886. 

Sections 63 to 66 and 79 — MISSOURI — Cereal pic- 
tures of typical corn producing farms. Enormous 
shafts of ear corn of different varieties. Orna- 
mental frieze of 38 columns constructed entirely of 
agricultural products. 

Section 49 — Towering corn temple built of the vari- 
ous specimens of Missouri ear corn. 

Sections 93 and 94 — MEXICO — Unique pavilion and 
large showing of the country's agricultural resources. 

Section 97 — CUBA — Very interesting and complete 
display of tropical plants, grains and tobacco. 

Sections 99, 100 and 112 — BRAZIL — Notable and ex- 
haustive exhibit of semi-tropical agricultural prod- 
ucts. 

Sections 99 and 100 — ITALY — Artistic booths con- 
taining a very interesting display of wines and bottled 
goods, also of oils derived from agricultural products. 

Sections 113 and 114 — HOLLAND — A display of 



138 AGRICULTURE BUILDING 

great interest, showing the various stages of the 
silk industry, from the cocoon to the finished prod- 
uct. 

Sections hi and 112 — CANADA — Beautiful pavilion 
constructed of grains and grasses. 

Sections 109 and ho — TENNESSEE — Handsome pa- 
vilion with pictures worked in cotton and cereals. 
Illustrative display of the tobacco industry, showing 
its various stages and conditions. 

Sections ioi and 102 — LOUISIANA — Statue of "King 
Cotton." Large cotton bales and interesting models 
of rice and sugar mills in complete operation. 

Section 84 — Tower of oranges ' grown in southern 
California. 

Section 75 — Model kitchen showing the various uses 
of cottolene. 

Section 116— GERMANY— Colonial exhibit illustrat- 
ing the resources of her African possessions, the 
life of the people, and their native surroundings. 
Should be seen. 

Sections 129 to 132 — GERMANY — Large and varied 
display of agricultural products and resources. 
Enormous copper strainer used in distillery vat. 

Sections 133 to 137 and 146 to 149 — FRANCE — 
Elaborate pavilion representative of the wheat in- 
dustry. -Olive tree illuminated with 3,000 miniature 
electric bulbs. Reproduction in plaster of the famous 
Roquefort cheese factory, showing cellars, vats and 
mountainous surroundings. Large and varied ex- 
hibit of bottled goods. 

Sections 57 and 58 — NEBRASKA — Artistic pavilion 
and huge column of ear corn. 

Section 41 — INDIANA — Shafts of ear corn, sur- 
mounted with figures of "King Corn" and "Queen 
of Wheat." These figures are made entirely of 
corn silk and shucks, and the bases of the shafts are 
decorated with cereal pictures of a rural character. 

Section 137 — KENTUCKY — Tobacco plantation show- 
ing the evolution of tobacco from the plant, to the 
consumer. Colossal tobacco leaf, 35 feet high and 
15 feet wide. 

Section 120 — VIRGINIA — Magnificent pagoda-shaped 
pavilion containing an exhaustive display of cotton, 
peanuts, and bottled wines. 

Section 120— KENTUCKY— Unique booth trimmed 
with hemp, tobacco, corn and grasses. 

Section 102— OREGON— Timothy and wheat stalks 



AGRICULTURE BUILDING 139 

7 feet tall, enormous beet weighing 30 pounds. Ex- 
hibit of pressed hops and 165 varieties of wheat. 

Section 85 — TEXAS — The outer walls bear typical 
scenes of the "Lone Star" state which are cleverly 
worked out in corn silks and shucks, cereals and 
barks. They represent the Galveston harbor, a 
rough rider, a pastoral and a forestry subject. The 
exhibit is exhaustive and includes a loaf of bread 
12 feet long, 3 feet wide, which weighs 100 pounds. 

Section 73 — Machinery used in the manufacture of 
confectionery. 

Section 74— MISSISSIPPI— Booth trimmed with cot- 
ton, corn and tobacco. 

Section 68 — KANSAS — Very handsome pavilion dec- 
orated with cereals and grasses. The large statue 
of a "Wyandotte" chief and eagles flanking entrance 
are made of corn husks and rye straw. Hugh globe 
constructed of vari-colored kernels of corn. 

Section 57 — NEBRASKA — Ornamental booth trimmed 
with cereals, rustic corner and writing tables. 

Section 50 — MINNESOTA — Large grain-trimmed pa- 
vilion with entrance columns surmounted by pump- 
kins. 

Section 52 — McCormick Reaper Co.'s exhibit of reap- 
ers and grain-cutting machinery. 

Section 20 — Traction engines and farming machinery 
built by the J. I. Case Mfg. Co. 

Section 20 — Globe of the world made entirely of 
seeds. 

Section 51 — Dairy machinery in complete working- 
order. 

Section 86 — ARKANSAS — Dome-crowned pavilion 
decorated with cotton, tobacco and cereals. Large 
exhibit of processed fruits and nuts. 

Section 90 — Cottage of old Dutch" architecture oc- 
cupied by the Washburn-Crosby Co. 

Section 103 — Chocolate booth erected in Colonial style 
by Walter Baker & Co. 

Section 121 — Pillsbury's pavilion of classical design 
with frieze of photographic scenes in the wheat belt 
of Minnesota and the Dakotas. Llere will be seen 
a vivid reproduction of the famous "Pillsbury A" 
flouring mill at Minneapolis, showing the great wa- 
ter power of the Mississippi river and St. Anthony 
Falls. The pavilion contains a model bakery where 
daily demonstrations with Pillsbury's Best Flour are 
given. Free samples of Vitos wheat breakfast food 
are served at the west facade. 



140 AGRICULTURE BUILDING 

Sections 126 and 127 — JAPAN — This exhibit is one of 
rare interest. The pagoda-shaped pavilion is used 
as a tea house and the collective showing of dried 
fruits, nuts and bottled goods is very complete. 

Sections 138, 139, 143 and 144 — ENGLAND — Repro- 
duction of a . portion of Dewar's Scotch distillery, 
Huge ovens made by Jos. Baker & Sons. 

Sections 122 and 124 — PORTUGAL — Very large ex- 
hibit of bottled goods. 

Section 107 — Handsome two-story pavilion occupied 
by Ralston Pure Food Co. 

Section 87— Old Virginia Kitchen, presided over by 
a genuine "down South" aunty. 

Section 71 — Baby gallery, being an exhibit of the Mel- 
lin Food Co. 

Section 71 — Model in relief of the stock yards at St. 
Joseph, Mo. 

Section 70 — Log cabin maple sugar booth. 

Section 52 — Dairy machinery manufactured by the Ver- 
mont Farm Machinery Co. 

Section 19 — Display and unique pavilion of the Moline 
Plow Co. 

Section 15 — Collective display of farming implements 
made by Deere, Manrow & Co. 

Sections 80 to 83, 95 and 96— CALIFORNIA— Mag- 
nificent pavilion in which are shown the state's vari- 
ous agricultural products. Exhibit showing the 
processes of olive oil manufacture. 
Completing the tour of Agriculture Hall, exit is 

made from its northern facade, a view point of un- 
usual attractiveness. Installed on the hill side at your 

feet is the big 

FLORAL CLOCK. 

The dial is ioo* feet in diameter and the minute hand 
about 50 feet in length. The numerals marking the 
hour 15 feet in length. In the circle surrounding the 
numerals are collections of twelve distinct plants, each 
collection being 25 feet long and 15 feet wide. The 
hands of the clock, made of steel, have wooden troughs 
for the soil. The entire face of the time-pie^e is made 
of flowers. At night the clock is illuminated by 1,000 
incandescent lamps. 

The visitor will now follow a winding path which 
leads, in a southwesterly direction, down the slope 
towards Arrow Head lake. At this point entrance 
is made to the most remarkable attraction of the en- 
tire Exposition, and known as the 



PHILIPPINE RESERVATION 



141 



PHILIPPINE RESERVATION. 

Its approaches lead up to and cross the lake on one 
of three bridges located at convenient points. One of 
these is a reproduction of the famous Puente de Es- 
pana, spanning the Pasig River at the city of Ma- 
nila, P. I. This bridge is of heavy masonry, with 
highly ornate balustrades and heavy piers with cut- 
water abutments. The other two bridges are of bam- 



PHILIPPINE V/LLAGE. 



FOR NQN~€HR/ST!AN TRIBES 




boo, with a deck or floor of split, woven bamboo, and 
poles of heavier whole bamboo, bedded in the lake. 
Crossing the Puente de Espana, the visitor reaches 
the "Walled City," known by the Spaniards as "In- 
tramuros," a reproduction in staff of the heavy mason- 
ry fortifications of Manila. It is situated near the lake 
so that this water represents the moat around the 
walls. The Walled City is entered by the Parian 



PHILIPPINE RESERVATION 143 

Gate, an architecturally beautiful, massive entrance 
way, reproduced from the original in Manila. All 
the bastions, the gun ports, and the turrets of the 
Walled City are reproduced. Within the city the war 
exhibits are displayed and the Philippine troops 
housed. From the Walled City the visitor will pass 
through the .Royal Gate, m front of which is a re- 
production of the Anda Monument in Manila, occupy- 
ing the center of the Paseo de Anda, or Square of 
Anda. From this square the Luneta Drive is followed 
to a map of the Philippine Islands in the open air, 
made carefully to scale in relief and colored. The 
map is 125 by 75 feet and is surrounded by a raised 
platform of bamboo, the work of Filipino laborers. 
Visitors reach the platform through the meteorological 
observatory, where ma}^ be seen the instruments used 
in the islands, including the seismograph, which regis- 
tered the Mont Pelee disaster 15 seconds after it 
occurred. Following the Luneta Drive a big restaurant 
is passed, facing which is a band stand, where a native 
Philippine band of eighty pieces give daily concerts. 
The restaurant is of native materials with bamboo and 
mpa wails and roof. From this building may be ob- 
served the Luzon village, occupying a wooded grove 
down the slope toward the Laguna de Baie. Farther 
along the Luneta Drive the visitor reaches the heavy 
timber at the southern <md of the tract where the non- 
Christian tribe have their tree dwellings and villages, 
and where the Filipino scouts live in their tented 
camps. The Luneta Drive passes into t the Nozaleda 
Drive. This leads the visitor to the Forestry Build- 
ing showing the vast timber resources of the islands. 
The building itself is erected of more than 100 differ- 
ent kinds of wood, all native to the Philippines. The 
Nozaleda Drive leads into the Malacon Drive, and 
this drive leads back to the Paseo de Anda, whence 
the visitor started. It passes the Agricultural Build- 
ing, in which are shown the vegetable products of the 
Philippines. If, instead of following the Luneta Drive, 
the visitor follows the main axis of the tract, he will 
come to a reproduction of the square in the Walled 
City of Manila. In the center of this square is a shaft 
dedicated to the navigator whose memory lives in the 
name of the Strait of Magellan. This square is flanked 
on all sides by fine buildings, which are reproductions 
of similar buildings skirting the square in Manila. One 
of these buildings is the Catholic Cathedral. The fa- 
cade is made up of three giant concentrically recessed 



144 . PHILIPPINE RESERVATION 

arches. This is the Ethnology Building of the Phil- 
ippine exhibit. Opposite this is the Government Build- 
ing, used for the Administration Building of the ex- 
hibit. This building in Manila contains a fine hall of 
sessions chamber with elaborate interior ornaments and 
fine silk iapestry hangings. This apartment is used for 
state receptions by the Philippine Commission during 
the Exposition. Another side of the square is taken 
up by the Education Building, which is at present a 
normal school, and before the American occupation 
was an exhibition building. On the fourth side of the 
square will be seen a typical Manila dwelling house 
with an inner court, overhanging second story and 
shell windows, the latter being small frames with 
thin shells set in instead of glass. Skirting the shore 
of the lake throughout its length are villages of dif- 
ferent tribes, such as the Moro, the Visayan and the 
Luzon. Here the natives will live as they do at home, 
many of them in huts built in the water. Some idea 
of the extent of the exhibit is given by the dimen- 
sions. The Walled City is 250 by 300 feet; the Ag- 
ricultural Building, 200 by 75 feet ; Forestry Building, 
150 by 100 feet; -Ethnology Building, 150 by 75 feet; 
Government Building, 150 by 100 feet; Education Build- 
ing, 50 by 150 feet; and the dwelling house, 100 by 
100 feet. 

Probably the display which will convey to the 
American visitor, the most distinct surprise will be 
the fine arts exhibit. In this department are contained 
hundreds of paintings and woodwork carvings, the work 
of the most noted native artists. Among the paintings 
are canvases by the Filipino masters, Joaquin Luna, 
hidalgo, who is now living and who has painted a 
splendid canvas specially for the Exposition exhibit, and 
De la Rosa. There are from eighty to eighty-five paint- 
ings, ranging in value from $1,000 to $15,000 each. 
Some of them have taken medals at Paris and Chicago. 
The collection of woodwork carvings is also especially 
valuable and select. 

Another interesting collection will be that contain- 
ing specimens of preserved native fruits. These fruits 
were shipped in zinc cans in a specially prepared for- 
maldehyde fluid which preserves their natural . color 
and freshness. They are exhibited in glass jars. 
Among the curious fruits shown are the pile nut, a 
delicious nut contained in a large peach-like fruit, 
which is also palatable ; bamboo sprouts, which re- 
semble large asparagus bulbs and which are said to 



FOREIGN BUILDINGS 145 

make the most delicious of salads ; the famous nar- 
cotic, the betel nut ; the ube, a tuba like potato ; the 
tapioca root, and sweet potato yams as large as mel- 
ons. 

Perhaps the most interesting collection in the eth- 
nology display is the collection of arms and weapons, 
representing those from every island in the group. 
The deadly bamboo cannons used by the natives, who 
shoot cocoanuts from them with great effect ; the gas- 
pipe guns, bamboo spears, boar traps, which were also 
used with fatal effect on "Yankee pigs" during the 
insurrections, and a number of other curious weapons 
are shown in this collection. 

The department of manufactures demonstrates the 
ingenuity of the natives and shows splendid rockers 
and easy chairs of rattan and bamboo, double hats of 
the finest bamboo weave, which weigh less than an 
ounce and look like silk weave, grass cloths, and in- 
numerable articles of bamboo material. 

In the forestry, fish and game department will be 
seen many curious stuffed and preserved samples of 
the birds and fishes, of the islands. Among the rep- 
tilian samples is a stuffed python 27 feet and 9 inches 
in length, which was caught in the Laguna de Bay. 
In the forestry department the native tools and im- 
plements are shown, besides samples of both the rough 
and polished woods of the islands. The latter dis- 
plays include two table tops of the native hard 
woods, each over 8 feet in diameter. Machinery 
achievements by the natives are shown by models of 
boilers and steam engines made by the natives in 
Cavite arsenal. 

Departure from the reservation is taken by the 
same bridge over which entrance was made. Moving 
northward, the course follows the roadway, at foot 
of hill, passing an Old Time Distillery, on the left 
hand. 

Across the road, and eastward, is seen the first of 
the structures occupied by foreign countries, that of 

CANADA. 

Two stories high and surrounded by large porches, 
it is a commodious club house. The interior walls are 
covered with numerous photographs and paintings of 
Canadian scenery. Architect, L. F. Taylor, of Ot- 
tawa. 



146 FOREIGN BUILDINGS 

East and across the walk is the national pavilion 
of 

CEYLON. 

This is built after the plan of the "Temple of the 
Tooth" (Delada Maligawa), a sacred edifice of Kand- 
yan architecture. The interior is finished in ivory 
white and illuminated with ancient Singhalese lamps 
in the form of lotus flowers, the sacred flower of the 
Buddhist, and the walls are decorated with friezes from 
Buddhist temples and painted by native artists, exempli- 
fying the life and various incarnations of Buddhism. 
Six pieces of statuary representing the different types 
of dignitaries and officials are placed in prominent lo- 
cations throughout the building. The furniture is of 
carved ebony and satinwood. One suite is made of 
porcupine quills. In the magnificent court tea is 
served by Singhalese attendants in true Oriental style, 
special attention being called to the cups, which bear 
unique and historical designs. On the upper floors are 
shown the various resources of the country and a 
carved model of Colombo harbor. ' Architect, J. Skin- 
ner, of Colombo. 

Recrossing the avenue in a northerly direction, 
there is noticed the queer shaped pavilion of 

INDIA. 

The famous tomb of Etmad-Dowlah, at Agra, In- 
dia, is here reproduced, which has many of the mina- 
rets and bulbous dome accessories for which the Taj 
Mahal, at the same place, is world-renowned. Natives 
in picturesque garb are employed in the making and 
dispensing of tea and coffee. Architect,^. S. Taylor, 
of St. Louis. 

Southeastward, the next attraction is that of the 

U. S. LIFE-SAVING STATION. 

This is a large boathouse, containing lifeboats, line- 
firing apparatus and other equipment used by the gov- 
ernment's life-saving department. Daily exhibitions 
are given in the adjoining lake by a crew of eighteen 
men. 

Proceeding east to the main roadway, the visitor 
will then turn north, or left, and enter the magnificent 
grill gateway of the national reservation of 



FOREIGN BUILDINGS 147 

FRANCE. 

The "Grand Trianon," a beautiful little chateau 
which Louis XIV. built for Madame de Mainte- 
non has been reproduced in the minutest detail and 
serves as the national pavilion of the French govern- 
ment. It is renaissance in style and was originally 
designed by Mansart, a famous architect of that pe- 
riod. The chateau is two stories high with wings pro- 
jecting from left to right, and from the wings toward 
the center stretch balustrades which terminate in huge 
blocks of stone surmounted by lions. The furnish- 
ings are exquisite. There are some pieces used in 
the sixteenth century. Historic Gobelin and the cele- 
brated Beauvais tapestries hang side by side and 
Sevres vases and figures adorn the tables. In the 
north wing the city of Paris displays its beautiful and 
historical collection, the Paris Chamber of Commerce 
occupying the southern wing which is furnished with 
costly and beautiful productions of French manufac- 
ture. The Versailles gardens cover seven and one- 
half acres, and contain many rare plants which, with 
the massive gates that adorn the entrance to the pa- 
vilion, were brought from France. Architects, Bou- 
vard & Umdenstock, of Paris. 

Situated across the roadway to the left, or north, 
is the government building of 

MEXICO. 

The structure is rectangular in plan, with a large 
central court and tower. The- windows of the lower 
floor are of stained glass, one of which shows a gi- 
gantic picture of President Diaz, and those of the 
upper floor are constructed of photographic negatives 
snowing typical scenes of interest throughout the Re- 
public. Architect, Leo Bonet, of the City of Mexico. 

West of Mexico is the building erected by 

SIAM. 

An old temple the "Beuchama Bophit," at Bang- 
kok, has been reproduced and is unique in architecture, 
decoration and color design, being in the shape of 
a Greek cross, crowned by a high-pitched roof with a 
concave ridgepole, such as is used on the Chinese 
pavilions. Pointed ' ornaments, like those seen on the 
native temples of the land of the white elephant, ter- 
minate the ridgepole. Three gables, rising one above 



FOREIGN BUILDINGS 149 

the other, and each crowned with an ornament, are at 
each wing of the building. The pavilion is surrounded 
by a Siamese garden, at the entrance to which are 
two towering flagpoles painted red and capped with 
the Siamese "gong" ornament in gilded metal. Ar- 
chitects, Hornblower & Marshall, of Washington, D. C. 
Adjoining that of Siam on the west is the national 
pavilion of 

NICARAGUA. 

Square shaped and built after the style of archi- 
tecture commonly used in the South American coun- 
tries; the structure is two stories high and the fur- 
nishings and exhibits are characteristic of the people 
who reside in that clime. Architect, Guy C. Mariner, 
of St. Louis. 

Next and west is the pavilion of 

BRAZIL. 

The distinctive feature of this structure is its cen- 
tral dome which rises to an altitude of 132 feet, cover- 
ing an area of 135 by 250 feet and is two stories high. 
The loggias beneath the side domes are marked by 
six Corinthian renaissance columns, each 45 feet high, 
and between the columns appear the coat of arms of 
one of the twenty states in the Brazilian Republic. A 
splendid view may be obtained from the gallery which 
surrounds the dome. Architect, Chas. H. Dietering, 
of St. Louis, after plans by Commissioner General Agu- 
lar. 

Northward and just across the avenue, is the strik- 
ing edifice of 

BELGIUM. 

An Antwerp townhall with a giant square sectional 
dome and bell tower containing chimes has served as 
a model for this building. The exterior walls bear 
decorations symbolical of the cities and provinces of 
Belgium, while in front of the main entrance is a 
splendid bronze vase flanked by tripod flagstaffs, the 
entire group surrounded by an ornamental garden. The 
several apartments are devoted to special exhibits of 
Belgium wares and an interesting display of laces is 
shown in the smaller pavilion. Architect, Paul Sainte- 
noy, of Brussels. 

East, and next, is the state b'uilding of 



150 FOREIGN BUILDINGS 



CUBA. 

This structure is a one-story pavilion with por- 
ticos on sides and rear and a terrace in front. The 
style of architecture is Florentine renaissance, so 
generally used on the island. Rare tropical plants sur- 
round the building and flower gardens are planted in 
the' inner court. Visitors have access to the tower by 
means of a winding staircase. Architect, Senor Salva- 
dor Gaustella, of Havana. 

Next in order and eastward is the national reser- 
vation of 

ENGLAND. 

The main building is a copy of "Orangery," the 
banquet hall of Kensington Palace, London, designed 
by Sir Christopher Wren for Queen Anne in 1704; the 
two wings and colonnades have been planned in keep- 
ing and the panelling and carvings faithfully repro- 
duced and the style of the garden is that of the Eliza- 
bethan age, .being sunk about four feet, in which are 
planted hundreds of old English flowers. Architects, 
Ernest, George & Yates, of London. 

Adjoining that of England on the west and facing 
north, are the structures built by 

CHINA. 

The Chinese buildings are three in number : An en- 
trance pavilion brought complete from China; a pa- 
goda with fish pond 22 by 40 feet, in the rear ; and 
the main pavilion, 38 by 50 feet, a copy of Prince P'u 
Lun s palace, which stands at the back of the reser- 
vation. The entire group is surrounded by an exten- 
sive and novel garden, containing many rare and beau- 
tiful flowers and plants. Architects, Atkinson & Dal- 
las, of Shanghai. 

Almost straight across the broad avenue to the 
north, is the unique reproduction of 

ROBERT BURNS COTTAGE. 

This structure was erected by the Burns Association 
of America, and is identical with the old home of the 
famous Scotch bard in Ayrshire. It contains many 
relics and will prove an interesting spot. 

Adjoining, and west, is the building which repre- 
sents 



FOREIGN BUILDINGS 151 

HOLLAND. 

A typical Dutch . piece of architecture with steep 
roof and quaint gables is here represented. The rooms 
are fitted with antique furniture and a characteristic 
garden surrounds the building. Rembrandt's "Death 
Watch," as copied by Kleyn, is the chief attraction. 
Architect, C. L. Van Kesteren, of Amsterdam. 

West, and between that of Holland and Austria, is 
the great national pavilion of 

SWEDEN. 

The design represents a "well-to-do" farmer's coun- 
try house, with two wings of a type commonly seen 
in Sweden which are connected with the main build- 
ing by arcades. An old fireplace, paintings of King 
Oscar and the royal family, together with fixtures and 
furnishings of oldfashioned Swedish style are a part 
of the interior decorations which will prove of unus- . 
ual interest. Architect, Ferdinand Boburg, of Stock- 
holm. 

West and next is the building of 

AUSTRIA. 

This is the only example of the "art nouveau" in 
architecture on the foreign reservation. Square towers 
flank the front which is enriched by statuary and an 
ornamental flight of stairs. There are thirteen salons 
artistically decorated and furnished, which offer con- 
veniences of every possible nature. The gardens on 
either side are separated from the street by an archi- 
tectural screen, and contain two sculptured fountains 
of unusual beauty. Architect, Ludwig Baumann, of 
Vienna. 

Across the street, and north, may be observed the 
pavilion of the 

ARGENTINE REPUBLIC. 

This building is a reproduction of the famous 
"Casa Rosada," or Goverment Palace, which covers 
about two blocks on the "Plaza Mayo" at Buenos 
Aires. In style it is an adaptation of the French re- 
naissance and is highly ornamented with statuary. 
The dimensions are too by ioo feet. The several rooms 
are given over to an interesting display of native prod- 
ucts. 



THE QUEEN'S JUBILEE PRESENTS 153 
ADMINISTRATION GROUP. 

The visitor's attention is now called to the Univer- 
sity buildings, in which are housed the officers of the 
Exposition and which contain a portion of the An- 
thropological exhibits. In Library Hall, the north 
wing are two exhiibts or rare interest : the Missouri 
Historical Association and the priceless display of the 
Vatican. The Hall of Congresses, which contains the 
Queen's Jubilee presents, is located on the western side 
of the inner plaza. The Woman's Building is located 
just west of the Llall of Congresses, where, in the 
"Hall of Beauty," a large collection of portraits is 
shown, representative of the famous beauties of Amer- 
ica. 

Queen Victoria's Jubilee Presents. 

North end Hall of Congresses, 2d floor. 

The Royal Presents included in this collection, by the 
gracious permission of His Majesty King Edward VII, 
chiefly consist of gifts made to Her Majesty, the late 
Queen Victoria, on the occasion of the Jubilee celebra- 
tions of 1887 and 1897. Of these the greater number 
have come from India, where native princes of all 
grades and representatives of all nationalities and re- 
ligions, vied with each other in offering to Her Majesty 
the splendid tribute of her Indian Empire. 

These Indian presents are of great interest, not 
merely on account of the precious metals and rare 
woods in which they are often worked, but as show- 
ing how r in recent years European ideas have influ- 
enced native Indian art, which, however, in many in- 
stances, is represented in its most characteristic and 
unaffected form. 

The remainder of the collection includes gifts offered 
by the representatives of the British Colonies, many 
of them richly illuminated addresses, often enclosed 
in caskets handsomely worked in metal or in native 
woods, or, a-s in the case of Cape Colony, represented 
by a magnificent screen of ostrich feathers, by objects 
which recall an important industry of the Colony. 

Case A. 

CARVED AND INLAID SANDAL-WOOD CAS- 
KET, containing address. From the Vaishya Con- 
ference. Meerut. 

IVORY INLAID SANDAL-WOOD CASKET on 



154 THE QUEEN'S JUBILEE PRESENTS 

four silver feet, with address and signatures. Loose 
green velvet cover. From the Residents of Etah. 

CARVED WOOD AND IVORY CASKET, con- 
taining cylindrical silver case, with address. From 
the Sardar Davar Edalji Khurshedji Motti and the 
Parsi Community of Surat. 

SILVER-MOUNTED CYLINDRICAL BAMBOO 
CASE, containing address. From the Tenants of 
the Setabganj Estate, Dinagepur, Bengal. 

SILVER CYLINDRICAL CASE, with address, 
on carved wood stand *with silver feet. From the 
Chief of Phaltan. 

IVORY BUST OF H.R.H. PRINCE CONSORT. 
From Lady Bloomfield. 

SILVER CYLINDRICAL CASE, with address, on a 
silver block stand. From. the Municipal Committees 
and District Councils in the Central Provinces. 

CARVED AND INLAID SANDAL-WOOD CAS- 
KET, with address and translation on white satin. 
From the Deva Nagri Association of Meerut. 

CARVED IVORY TUBE, containing address and 
translation. From the Santana Dharma Sabha, La- 
hore. 

CARVED EBONY BOX, inlaid with ivory, silver 
mounted and containing translation of address. 
From the Municipal Committee, Delhi. 

SANDAL-WOOD BOX, with ivory ornament, con- 
taining address and signatures. From the People of 
the Raniganj District of Burdwan. 

IVORY WRITING DESK, fitted with tray, three 
mkbottles with pearl tops and four drawers, orna- 
mented with gold and painted plaques, containing 
translation of address. From the Khan Bahadur 
Nawab Mahomed Mahmud Ali Khan Rao of Chitari, 
Bulandshahr, N. W. Provinces. 

Case B. 

IRON CASKET, inlaid with gold and silver, containing 
address and translation. From the Residents of 
Gujrat District, Punjab. 

IRON CASKET AND KEY, damascened in silver and 
gold, textile bag containing translation and address. 
From the Municipal Commissioners of Jhelum and 
Pind Khan, and the District Board, Jhelum, Pun- 
jab. 

SILVER CASKET AND KEY, with gold ornament 
on top, Royal Coat of Arms and figures in relief on 



THE QUEEN'S JUBILEE PRESENTS 155 

sides and ends. From the Inhabitants of Poonah, 
Bombay. 

CARVED EBONY INLAID BOX, containing adap- 
tations of National Anthem in Punjabi, Hindustani 
and Roman Oordoo. From Pertab Sing and Bishu 
Sing, Sikh School Boys of the Village of Mandyani, 
Punjab. 

SILVER AND WOOD CASKET, in shape of a palan- 
quin. From the inhabitants of the City and District 
of Saugor, Central Provinces. 

SILVER MOUNTED CARVED WOOD BOX AND 
KEY, containing three addresses, two translations 
and a roll of signatures. From the Inhabitants of 
Buduan and the Municipal Board of Buduan, N. W. 
Provinces. 

STEEL CASKET AND KING KEY, inlaid with gold 
and silver, containing address. From Sheikh Hafiz 
Abdul Karim Khan Bahadur, Meerut, Bengal. 

PURPLE AND GOLD EMBROIDERED BAG, con- 
taining address with translation and roll of signa- 
tures. From the City and District of Ballia. 

CARVED WOOD CASKET, ornamented with 
mother-o'-pearl and silver, with address and transla- 
tion of the address and signatures in book, also silver- 
gilt case. From the inhabitants of Saharanpur, N. 
W. Provinces. 

CARVED SANDAL-WOOD CASKET, in the form 
of an Indian temple, with address. From the inhabi- 
tants of Ahmedabad City and Camp, Bombay. 

SILVER-GILT CASE, mounted on ivory stand. From 
the Chiefs of Kathiawar, through their Highnesses 
the Thakore of Morvi, the Thakore of Limri and 
the Thakore Sahib of Gondal. 

Case C. 

BATTLE AXE, damascened with gold. From The 
Raja Pertab Narain Singh Deo Bahadur of Jushpore 
in Chota Nagpore, Central Provinces. 

SILVER MOUNTED CYLINDRICAL BAMBOO 
CASE on claw feet, with address and signatures. 
From the Inhabitants of the Municipality of Jamal- 
pur. 

SILVER OCTAGONAL TRAY, bordered with red 
and green beads. 

SILVER PARCEL-GILT BOX, containing address 
and translation, also ode and translation. From the 
Inhabitants of the Azamgarh District, N. W. Prov- 
inces. 



156 THE QUEEN'S JUBILEE PRESENTS 

INLAID WOODEN BOX, containing address and 
translation. From the Residents of Chiniot, in Jhang 
District, Punjab. 

SANDAL-WOOD INLAID CASE with engraved 
plate, containing address. From the Citizens of Ank- 
lewar, Broach District, Bombay. 

SILVER CYLINDRICAL CASE, with raised flowers, 
containing address. From the Inhabitants of Dinage- 
pore Town and District, Bengal. 

MODEL OF A LIGHTHOUSE, silver parcel gilt, 
containing address. From the Raja of Kolhapur. 

CARVED AND INLAID SANDAL- WOOD CAS- 
KET, containing an address. From the Beni Israel 
Community of Poonah, Bombay. 

SILVER AND SILVER-GILT CASE, containing an 
address and translation. From the Municipal City 
and District of Multan, Punjab. 

WORSTED BOX, containing two Indian shawls, ad- 
dress and translation. From Vichar Sabha Ahluwa- 
lian of Rawal Pindi, Punjab. 

Case D. 

SET OF WHITE JADE ORNAMENTS, consisting 
of incense burner and cover ; incense box and cover ; 
an incense bottle, on rosewood stand. 

CARVED SCEPTRE, white jade, with red silk tassels 
and beads. 

BLOCK OF WHITE JADE, carved in parts, on rose- 
wood stand. 

PAIR OF METAL INCENSE VASES AND COV- 
ERS — From the King of Corea. * 

A PRAYER PRINTED ON WHITE SATIN, on 
ivory and silver mounted rollers, enclosed in an 
openwork silver casket, and letter. From the Loyal 
Parsee Community of Hong Kong. 

AN ADDRESS- ENGRAVED ON. A SILVER 
PLATE, in an ivory frame, with gold crown set with 
diamonds, on ebony standards and plinth. From the 
leading members of the Malay, 'Chinese, Cingalese, 
Hindu and Selangor Communities. 

ADDRESS IN CHINESE AND ENGLISH, sur- 
mounted by a lion and unicorn and gold filigree 
work, on a carved stand. From the Penang Literary 
Association. 

Case E. 

SILVER feUST OF HER MAJESTY. From Din- 
shah Ardeshir Taleyarkhan and Sunabai Dinshahji 
Taleyarkhan. 



THE QUEEN'S JUBILEE PRESENTS 157 

SILVER PARCEL-GILT CASE, containing address 
and translation on satin. From the Members of the 
Municipal Committee of Lahore, Punjab. 

SILVER CYLINDRICAL CASE on a silver stand, 
with address. Fromthe Raja of Devgud Barja State. 

SILVER BOX, on a stand overlaid with silver, with 
address and translation. From the Residents of 
Tahsil Bansgaon. 

LACQUERED CASKET with ivory ornaments, con- 
taining list of names. From the residents of Dera 
Ismaiil Khan. 

ADDRESS IN EMBROIDERED VELVET AND 
TINSEL BAG. From the Municipality of Hydera- 
bad, Sin'd. 

WOOD CASKET ON FOUR SILVER FEET. 
From the Nugger Seth and Hindu Community of 
Surat. 

ADDRESS AND SIGNATURES IN AN EMBROID- 
ERED BLUE VEVLVET BAG. From the Moham- 
medan, Hindu and Christian inhabitants of Mur- 
shedabad. 

PAINTED BOX, with address and signatures. From 
the Residents of Jauhpore. 

ADDRESS IN HINDUSTANI on vellum, with por- 
traits of the Queen. From Mohammedan Proprietors 
and Editors of the Urdu, Persian and English Press 
in Behar and Bengal. 

SILVER CASKET representing an Indian Temple 
and stand. From the District and Taluka Local 
Boards, and Municipal Committees within the Bijapur 
Collectorate, Bombay. 

SILVER-GILT CASKET, in the shape of a column, 
enclosed in a silver mounted wooden box. From the 
Freemasons of Allahabad. 

SILVER TRAY AND STANDARDS TO SUP- 
PORT ADDRESS, filigree work,' with birds, butter- 
flies, etc., kincob cover, outer case. From the Rang- 
pur Arya Dharma Sabha, Bengal. 

Case F. 

EMBROIDERED SILK COVERED BOX, with ad- 
dress and translation. From the Pandits of Delhi. 

CARVED WOOD AND IVORY CASKET on four 
silver feet, with address. From the Inhabitants of 
Mehmedabad. 

SILVER AND GILT CASKET IN THE SHAPE 
OF AN UMBRELLA, containing address on satin, 



158 THE QUEEN'S JUBILEE PRESENTS 

gold embroidered. From the Inhabitants of Ad- 
jodhya and the Fyzabad district, N. W. Provinces. 

SILVER PERFORATED CYLINDRICAL CASE, 
with address. From the Inhabitants of the Nimar 
District, Central Provinces. 

SILVER-GILT CASE WITH RAISED CROSS, 
containing an address. From the Chaplains to the 
Queen, in Scotland. 

EMBROIDERED BLUE VELVET CASKET, con- 
taining an address, translation and a book of signa- 
tures. From the Residents of the Town of Delhi. 

SILVER-GILT OPENWORK CASKET, with address 
and translation. From the Inhabitants of the Bah- 
raich District, N. W. Provinces. 

SILVER CYLINDRICAL CASE ON FEET, with 
address and translation. From the Rungpore Branch 
of Central National Mahomedan Association, Ben- 
gal. 

SILVER FILIGREE CASE WITH GILT MOUNTS, 
containing address and list of subscribers. From 
the Inhabitants and Residents of Travancore. 

Case G. 

SILVER-GILT SALVER, SCENT SYRINGE, 
SPICE BOX IN SIX COMPARTMENTS, SMALL 
INKSTAND. From H. H. The Maharaja Holkar 
of Indore, G.C.S.I. 

SILVER-GILT TRAY with dolphin feet. From the 
Residents of Mirzapur, N.W. Provinces. 

EMBROIDERED BAG, red velvet, containing address, 
two sheets and translation. From the Members of 
the Sanskrit Viddyai, etc. 

SILVER FILIGREE CASKET AND STAND, with 
address. From Sir Luchmessur Sing Bahadoor, 
Maharaja of Durbhanga, K.C.I.E., Province of Behar, 
Bengal. 

LARGE IVORY CASKET, gilt mounts and key, con- 
taining address and a book record of the Jubilee 
proceedings in Bombay in velvet covers. From the 
Municipality of Bombay. 

IRON CASKET, damascened with gold, containing 
address and key. From the Raja and People of 
Bamra. 

SILVER CASE IN THE FORM OF A PILLAR, 
with base and cap, containing address and translation. 
From Inhabitants of the Kirwi District, N.W. 
Provinces. 



THE QUEEN'S JUBILEE PRESENTS 159 

SANDAL-WOOD CASKET OVERLAID WITH 
SILVER, containing address. From Rajah of Bobbili 
in the Vizagapatam District, Madras. 

Case H. 

SILVER OVAL CASKET, with jasper lid, two sil- 
ver bands. From Raja Runybeer Singh of Maihar. 

SILVER CASKET in the form of a palanquin, con- 
taining two addresses and translations. From the 
Allahabad District, N.W 7 . Provinces. 

OVAL SILVER TRAY with two figures bearing k> 
silver cylindrical case, with address, translation, roll 
of signatures and stand. From the Inhabitants of 
Sitapur, N.W. Provinces. 

SILVER-GILT OPENWORK BOX. with three 
plaques of Indian views on lid, containing address 
and translation. From the Inhabitants of Muttra 
and District, N.W. Provinces. 

SILVER CASKET AND STAND. From the Good 
Templars of India. 

GOLD-EMBROIDERED RED VELVET BAG, with 
address and translation. From the Residents of 
Ferozabad, Flyderabad. 

DAMASCENED GOLD AND SILVER CASKET, 
containing an address in a silver tube, with keys. 
From the Punjab Journalists and Publishers, Lahore. 

GOLD DAMASCENED CASKET, containing an ad- 
dress and translation, with loose cover. From Her 
Majesty's Loyal Sikhs of the Punjab and elsewhere. 

Case I. 

GOLD CASKET, with monogram on front, composed 
of brown, yellow and white Cape diamonds, encir- 
cled by a laurel wreath, with bullion cord and tas- 
sels. From the Government of the Cape of Good 
Hope. 

GOLD CALABASH, on plush stand. From the Native 
Ladies' Social Club, Lagos, Gold Coast Colony. 

GOLD MEDAL struck in commemoration of the 
Jubilee, in a velvet case. From the British com- 
munity in the Argentine Republic. 

AN ADDRESS AND SIGNATURES, in wooden 
covers with crest and lettering set in diamonds on the 
front. From the London Committee of Deputies of 
British Jews. 

SILVER PARCEL-GILT CASKET, studded with 
seven diamonds, containing address, with letter and 



160 THE QUEEN'S JUBILEE PRESENTS 

stand. From the Mayor and Town Council of 
Beaconsfield, Griqualand West. 

INLAID CASKET, containing an address in a cylin 
drical gold box and key. From the Chief of Bhor. 

CARVED IVORY CASKET, ornamented with gems, 
gold mounts and gold key. From the President and 
Legislative Council of Ceylon. 

A GOLD AND SILVER MEDAL, struck in com- 
memoration of the Jubilee. From Sir West Ridge- 
way, Governor of Ceylon. 

A TIGER'S SKULL, mounted with a gold timepiece, 
barometer, inkstand, penwiper and stand. From H.E. 
the Prime Minister of Hyderabad. 

WALNUT AND SATIN-WOOD CASKET, with 
ormolu mounts and gold key, containing two ad- 
dresses and two lists of signatures. From the Citi- 
zens of Kingstown, Jamaica. 

A MASSIVE IVORY CASKET, supported by four 
Corinthian pillars of gold, and enriched with plaques 
of gold and crocidolite, containing an address. The 
plaques are inscribed with the words "Loyalty," 
"Unity," "Love" and "Devotion." Upon the lid of 
the casket is a golden spray composed of the rose, 
shamrock and thistle. These national emblems are 
studded with 212 diamonds — polished and rough — 
from the Mines of Kimberley. The names of the 
mines appear on four small gold plates at the sides 
of the lid. The casket is lined throughout with 
white ostrich feathers/ and has a case of crocodile 
hide. From the Town of Kimberley, South Africa. 

Case J. 

SIGNAL TRUMPET, ivory, gold mounted. From the 
Karens of Burmah. 

GOLD EMBROIDERED SILK BAG, containing ad- 
dress. From the Central Committee of the National 
Association for Supplying Medical Aid to the Women 
of India. 

PEARL EMBROIDERED BAG, containing an ad- 
dress and translation. From the Inhabitants of 
Benares. 

CARVED WOOI> CYLINDRICAL CASE, mounted 
on carved ivory and wood stand on four gilt feet, 
with an address. From the Municipal Corporation 
of the City of Ahmedabad. 

INLAID IVORY CASKET AND STAND, with ad- 
dress and key. From the Municipal Corporation of 
the City of Surat, Bombay. 



THE QUEEN'S JUBILEE PRESENTS 161 

ANTIQUE CARVED IVORY CASKET, with ad- 
dress and translation. From Babn Khem Singh 
Bedi, CLE., and others on behalf of the Sikh Com- 
munity. 

THREE SILVER JEWELLED ELEPHANTS 
BEARING CASKET, containing address, mounted 
on ebony base. From the Inhabitants of Ceylon. 

CARVED WOOD CYLINDRICAL CASE, on an 
inlaid and carved plinth on silver feet, with an ad- 
dress. From the Municipality and Citizens of Naraid. 

SILVER PRAYER-WHEEL CASKET, containing 
address. From the Municipality of Darjeeling. 

TWO SILVER JUGS AND TWO SILVER CUPS, 
studded with turquoises, and stands. From H. H. 
The Thakor of Limri. 

MARBLE CASKET, with mosaic flowers on lid. From 
the Residents of Etawah, N.W. Provinces. 

CARVED GILT INLAID CASKET, with address 
and key. From the Municipality of Pandharpur. 

Case K. 

SILVER PARCEL-GILT CASKET, in the shape of 
a fish, with stand. From the Members of the Bil- 
gram Institute, Oudh. 

CARVED WOOD AND SILVER BOUND CASKET, 
with thirteen plaques on sides, and lid of painted 
views, containing a covered tin case and key, two 
outer covers. From the Artizans employed in the 
Colonial and Indian Exhibition of 1886. 

GOLD EMBROIDERED RED SILK BAG, contain- 
ing address on white satin. From the Rajah-i-Am 
Association of Lucknow. 

SMALL BIDRI WARE VASE AND COVER, inlaid 
with silver. 

PLATE, Bidri ware. 

TWO OCTAGONAL BOXES, damascened in gold, 
with drop handles, two keys. 

TWO SMALL OVAL BOXES, damascened in gold 
with drop handles, two keys. 

LARGE VASE AND COVER, inlaid with silver. 

HOOKAH BASE, inlaid in silver. 

SMALL ENAMELLED DISH WITH VASE AND 
COVER, jewelled, six diamonds on knob of cover 
and thirty-two small plate diamonds round lower 
part of vase. 

INLAID IVORY JEWEL BOX, lined with black 
velvet, with two trays containing address, and key. 

OVAL SILVER CHASED BOX, stone in lid. 



162 THE QUEEN'S JUBILEE PRESENTS 

SILVER AND JASPER INKSTAND, horse-shoe 
shaped. From the Nawab Amir-i-Akbar-Osman- 
Jah-Bahadur. 

GOLD EMBROIDERED GREEN VELVET BAG, 
with address, translation and roll of signatures. 
From the Residents of Mirzapore, N.W. Provinces. 

IRON CASKET, damascened in gold, with key. From 
the Members of the Indian Association, Lahore, 
Punjab. 

SILVER CASKET, in the form of an Indian Temple, 
on wooden stand, containing an address, translation 
and a printed description of the Hoisel, Ishvara 
Temple. From Mysore and Bangalore. 

Case L. 

GREEN VELVET BAG, embroidered with pearls, 
containing an address. From Hassan Ali Mirza and 
other Inhabitants of Murshidabad 

SILVER-GILT CASKET, with raised ornament, con- 
taining two addresses and translation. From the 
Gentlewomen of Shahjehanpur and the Municipal 
Board of Shahjehanpur, N.W. Provinces. 

CARVED SANDAL-WOOD CASKET, containing 
two yellow silk sheets of Sanscrit verses and trans- 
lation. From His Eminence the Guru of the Re- 
ligious Matt at Sringeri, Mysore. 

EMBROIDERED BLUE CASKET, containing an 
address and translation in an embroidered cover, with 
a tray en suite. From the Descendants of the Ex- 
Royal Family of Delhi. 

SILVER CASKET, ornamented with forts, etc., con- 
taining address and signatures. From the Inhabi- 
tants of Admednagar, in the Deccan, Bombay. 

BLACK WOOD BOX, ornamented with engraved and 
pierced ivory, containing address and key. From 
the Members of the Bombay Native Piece Goods 
Merchants' Association, Bombay. 

SILVER CASKET, with raised gold ornament, con- 
taining address and translation. From the Radha 
Persabad Singh, Maharaja of Dumraon, Behar, 
Bengal. 

Case M. 

SILVER PERFORATED CASKET, containing silver 
cylindrical case with an address. From H. H. the 
Mir Faiz Mahamed Khan Talpur. 

SILVER CASKET, containing illuminated address 
with Arabic writing, two letters. 



THE QUEEN'S JUBILEE PRESENTS 163 

GILT MOUNTED WOOD CASKET, containing ad- 
dress. From the Jain Community of Delhi. 

BLUE VELVET COVERED CASKET, containing 
address and translation in gilt, and glazed frame with 
gilt folding doors. 

SILVER CYLINDRICAL CASE, with address, trans- 
lation and signatures. From the Municipal Commit- 
tee of Peshawar. 

CARVED EBONY CASKET, with silver plaques and 
handles, and stand. From the Freemasons of the 
Punjab. 

Case N. 

CARVED SANDAL-WOOD CASKET, with address. 
From the Municipality of Meer-ut. 

SILVER OVERLAID CASKET, with gilt plates, con- 
taining address and key. From the Jain Community 
of Delhi, N.W. Provinces. 

CARVED IVORY BOX, containing address and key. 
From the Missionaries and Native Christians in the 
Punjab. 

RICHLY CARVED EBONY CASKET, containing 
address, translation and key. From the Inhabitants 
of Kashipur in the District of Terai, N.W. Provinces. 

PAINTED WOOD BOX AND KEY, with address, 
translation and signatures. From the Municipal and 
District Board, Taunpur, N.W. Provinces. 

CIRCULAR SILVER STAND with gallery. From 
the Jalsa-i-Tahzeb, Lucknow. 

GOLD EMBROIDERED GREEN VELVET BAG, 
containing address and translation. From the Teach- 
ers and Students of Agra College. 

CARVED AND ENGRAVED IVORY CASKET, 
fitted as a work-box and writing-case, with three 
keys. From H. H. the Maharaja of Kuch Behar. 

SILVER CASKET, with silver-gilt mounts, contain- 
ing address and key. From the Bombay Merchants 
in Singapore. 

OBLONG SILVER CASKET, with raised ornaments, 
containing address. From the Municipal Board of 
Ghazipur, N.W. Provinces. 

CARVED WOOD AND IVORY CASKET, on silver 
feet, containing address and signatures. From the 
Gujerat Ladies' Club and Women of Ahmedabad 
Citv. 

CARVED SANDAL-WOOD BOX, containing ad- 
dress, kincob cover. From the Kanara Forest As- 
sociation, Bombay. 



164 THE QUEEN'S JUBILEE PRESENTS 

Case O. 

GOLD CASKET, made from about 30 ounces of the 
finest nuggets of West Africa, and manufactured 
by native smiths. From the Government of the 
Gold Coast Colony. 

GOLD CYLINDRICAL CASE, set with 14 brilliants 
at the ends, containing an address. From Lok 
Singh. 

AN ADDRESS, in a blue morocco cover with gilt 
mounts set with diamonds and other precious stones, 
in an oak case. From the Borough of Reading. 

SET OF THREE MEDALS, struck in commemoration 
of the Jubilee, on velvet stand. From the Royal 
Mint. 

GOLD AND SILVER ORNAMENTED CASKET, 
containing an address, a silver medal, gold chain 
with booklet attached, and stand ; in a bird's-eye 
maple cabinet with silver plate. From the Mayor 
and Corporation of the City of Toronto. 

SILVER-GILT CASKET, containing an illuminated 
address with photograph, and stand with engraved 
silver plate. From the Mayor and Subscribers to 
the Windsor and District Jubilee Scheme. 

IVORY AND SILVER-GILT CASKET, jewelled 
and enamelled, surmounted with jewelled silver-gilt 
Royal Coat of Arms, on marble stand. From the 
Borough of Roval Leamington Spa. 

LARGE WOODEN CASKET, supported by four 
metal swans on blocks of gold quartz, containing 
address and gold key. From the Legislative Council 
and Legislative Assembly of. Western Australia. 

AN ADDRESS ON A GOLD PLAQUE, made from 
the gold and set with the diamonds taken from the 
Randt District, in a case with doors. From 35,000 
British Subjects in The Transvaal. 

FOURTEEN NEPAULESE GOLD COINS, on 
stand. From Sir Bir Shumshere of Nepaul. 

Case P. 

ROYAL SADDLERY, the gifts of Indian Rajas and 
Princes. 

Cases U and V. 

A CHAIR OF STATE, of elegantly carved ivory on 
truss-shaped legs with lion paw feet, the arms ter- 
minating in lions' heads. 

A CARVED IVORY FOOTSTOOL, with two steps, 
en suite with State Chair, the steps lined with green 



ANTHROPOLOGICAL BUILDING 165 

silk velvet with gold lace border. The sides en- 
riched with moveable eagle heads with wing orna- 
ments. 
A SHAPED KNEELING CUSHION, in green silk 
velvet, very richly embroidered in gold and silver 
thread, with two gold and crimson tassels on the 
front corners. 

Presented to Her Majesty Queen Victoria by the 
Maharaja of Travancore. 

Case W. 

PAIR OF ELEPHANT'S TUSKS, mounted on a 
buffalo's head carved in ebony, which is supported 
on four griffins. The tusks rest on the heads of 
four figures representing some of the incarnations of 
Vishnu. All the figures are of carved ebony. With 
glazed oak case. From H.H. the Maharaja of Tra- 
vancore. 

Case X. 

PAIR OF ELEPHANT'S TUSKS, mounted as flower 
vases on a stand of rosewood, covered with ivory. 
With glazed oak case. From H.H. the Maharajah 
of Travancore. 

Case Y. 

AN OSTRICH FEATHER SCREEN. From the 
Ostrich Farmers and Women of Cape Colony. 

FOUR PEACOCK FEATHER FANS. From the 
Municipal Board of Jhansi, N.W. Provinces. 

ANTHROPOLOGICAL BUILDING. 

Notable Exhibits. 

Rooms ioo and ioi — EGYPT — Reproductions in life- 
size groups of scenes from ancient Egyptian life. 
Collection of implements, utensils, bronzes and pot- 
tery from the tombs of the Pharaohs. Mummy of the 
Greek period. Chapel from the Mastoba of Ra- 
Kapu, taken from the cemetery of Sakkara. Large 
collection of bas-relief casts from the Cairo Museum. 

Room 103 — Remarkable exhibit of prehistoric weapons 
and implements used by the aborigines to create fire. 

Room 103 — LOUISIANA — Collection of stone imple- 
ments and native basketry. 

Room 104 — Collective exhibit of prehistoric mechanical 
devices and a host of relics showing the evolution of 
the pipe. 

Rooms 105 and 107 — MEXICO — Figures in wood rep- 



166 



ANTHROPOLOGY BUILDING 




ANTHROPOLOGICAL BUILDING 167 

resentative of Indian races of the state of Oaxaca, 
clad in native apparel. Reproduction of famous Az- 
tec ruins and Mexican antiquities. 

Rooms 106, 108, iio and 112— OHIO— Interesting dis- 
play of prehistoric implements and ornaments found 
in the celebrated Ohio mounds. 

Room 109— UNIVERSITY OF CHICAGO— Collec- 
tion of native Mexican costumes, antiquities and 
ceremonial objects. 

Room 109— PHILLIPS ACADEMY— Antiquities gath- 
ered from American caves. 

Room 109— WYMAN EXHIBIT— Display of aborig- 
inal beads, strings, belts and wampum. 

Room 116— DAVENPORT ACADEMY OF SCIENCE 
— Prehistoric stone pipes, including the famous "Ele- 
phant pipes." 

Rooms 203, 205, 207, 209 and 211 — MISSOURI HIS- 
TORICAL SOCIETY— A most interesting exhibit 
which illustrates by epochs the settlement of the 
Louisiana Territory. There are relics, documents, 
portraits, weapons, coins,' and the coat of August 
Chouteau, together with numerous articles of rare and 
historical interest. This collection should be seen. 

Room 213— FRANCO-LOUISIANA SOCIETY— Col- 
lective display of documents and manuscripts bearing 
the signatures of Napoleon, 1812, and of the Kings 
of France dating back to 1685. There are also many 
old engravings, paintings and portraits. 

Rooms 208 and 210— THE VATICAN COLLECTION 
— This exhibit is one of exceeding interest, and was 
authorized by His Holiness Pius X. It includes : 

Letters of Leo XIII to his mother when he was a child 
of nine years of age. 

Thesis on Graduation from the Seminary : Leo XIII. 

History and Genealogical Tree of Leo XIII's family, 
compiled when he was a. priest. 

Letter of Leo XIII to his brother, announcing his 
election as Pope. 

Manuscript collection of the Poems of Leo XIII ; last 
letter of Leo XIII to his family. 

Prayer Book, Breviary, Rosarv and Robes worn by Leo 
XIII. 

Cane and red umbrella of Leo XIII. 

Portrait of Leo XIII. 

Portrait of Pius X. 

Portrait of the principal officials of the Vatican and 
the most distinguished Cardinals. 



FORESTRY, FISH AND GAME 169 

Photographic enlargement of St. Peter's, Rome. 

Photographic enlargement of the different portions of 
the Vatican. 

Copies of the most famous decorations of the Vatican, 
including the Sistine Chapel. 

Sketches of the Catacombs. 

Collection of coins issued by the various Popes. 

Collection of autographs from the archives. Exhibit 
oi mosaics from the papal mosaic studio. 

Maps and documents relating to missions in Louisiana 
Territory. 

Reproduction of the Codex Vaticano. (The oldest copy 
of the Holy Scriptures in existence.) 

Reproductions of precious and unique manuscripts be- 
longing to Leo XIII. 

Vestments worn by Leo XIII. 

South of the main entrance opposite Belgium is 

the government building of 

ITALY. 

This is a beautiful one-story pavilion, which stands 
high above the garden level and is reached by a stately 
flight of stairs. Towering standards flank the stairs, 
the tips being crowned by bronze victorys. The gar- 
dens are surrounded by a 10 foot wall on two sides, 
the third side having a rectilinear peristyle of Ionic 
columns through which entrance is made. The inter- 
ior walls are encircled by a porcelain frieze and bronze 
figures are exposed at effective points. Architect, 
Guisseppe Sommaruga, of Milan. 

Completing the Foreign Group with an inspection 
of Italy's building, the visitor turns southward, passing 
the Administration restaurant, then west upon Olympian 
Way, to the northern entrance of the 

FORESTRY, FISH AND GAME 
BUILDING. 

It is a well-planned structure of Corinthian design. 
The central nave is 85 feet wide and entirely clear of 
posts. Four smaller aisles, two on either side, are each 
50 feet wide. The aquariums, 60 in number, occupy 
a space 35 by 185 feet in the east end of the building, 
while nearby is a pond 35 by 55 for large fish, and 
farther west is a circular salt-water basin, 40 feet in 
diameter and 5 feet deep, containing salt-water fish. The 
dimensions are 300 by 600 feet with an area of about 



170 FORESTRY, FISH AND GAME 



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FORESTRY, FISH AND GAME 171 

6 acres. Architect, E. L. Masqueray, of St. Louis. 
Cost $175,000. 

Notable Exhibits. 

Sections 2 and 6 — Pictures illustrative of the hunting 
and fishing regions traversed by the Inter-colonial 
railway of Canada. Mounted specimens of fish and 
game. 

Sections 3 and 6 — Aquariums of live fish from the 
state fisheries of Pennsylvania. Model of hatchery 
and fishery. Interesting collection of photos and 
water colors. 

Section 7 — Glass transparencies of wild game taken by 
flashlight on the south shore of Lake Superior. 

Sections 10 and 18 — Hunting implements and firearms 
of German manufacture. 

Sections 31 and 36 — Collective exhibit of 303 varieties 
of woods, feathers, birdskins and butterflies from 
Venezuela. 

Sections 8 and 17 — Old timber hauling cart used in 
Siam. Scented woods, elephant* tusks, rhinoceros 
skin and hunting appliances. 

Sections ii and 13 — Adirondack log cabin containing 
photographs of mountain scenery in New York. In- 
teresting exhibit of native woods and a large dis- 
play of mounted specimens of fish and game. 

Section 28 — Rough and finished products of the forests 
of North Carolina. 

Section 7 — Aquarium showing specimens of Missouri's 
game fish. 

Section 17 — Ceylon government display of its hunting, 
fishing and forestry products. Black leopard skin, 
model of basket woman and grotesque figures carved 
on wood. 

Sections 9 and 17 — Collective exhibit of 216 kinds of 
woods from the forests of Argentine Republic to- 
gether with a magnificent showing of skins, furs and 
feathers. 

Section 9 — Interesting collection of Indian relics, ar- 
row heads and bead work. 

Section 38 — Museum of natural history containing a 
collection of mounted birds from all parts of the 
globe. 

Section 38 — Unique vine-covered pavilion of Funsten 
Bros. & Co. and a remarkable exhibit of rough 
and mounted furs. 

Section 31 — Historic firearms collection exhibited by 
the U. S. Cartridge Co. 



172 FORESTRY, FISH AND GAME 

Section 35 — Remarkable display of rough and polished 
Brazilian hardwoods. 

Section 28 — Rustic pavilion and exhibit of the state 
of Michigan. 

Sections 33 and 34 — Handsome pavilion erected by 
California which houses the state's exhibit of highly 
polished woods and its general fish and game dis- 
play. 

Sections 20 and 26 — Models of fishing vessels used by 
Japanese fishermen. Notable exhibit of isinglass, 
corals, and pearls. 

Section 25 — Exhibit of rough* and polished timber 
grown in Montana. Mounted specimens of wild game 
and mountain trout. 

Section 25 — Cliff-shaped pavilion of Colorado covered 
with mounted game, the interior of which is filled 
with furs, mounted birds and fish, and many pho- 
tographs. 

Section 16 — Model salmon fishery on the Columbia 
river in Washington. Specimens of forest products 
and illustrations of the lumbering industry. 

Section 27 — Cork bark and products from Portugal. 

Section 23 — Pavilion of Oregon pine containing a 
large assortment of polished native woods. Cage 
of golden pheasants. 

Section 37 — Cottage of the St. Louis Lumbermen's 
Association, in which are shown the products of 
the yellow pine industries. 

Section 15 — Ornamental rustic pavilion constructed of 
over 3,000 varieties of woods peculiar to Canada. 
Mounted specimens of wild game, fish and birds. 

Section 12 — Tank containing a family of live beavers. 

Section 16 — Typical Alaska fishing village with log 
cabins and all the accoutrements of a salmon fish- 
ery. 

Section 21 — Collection of hunting trophies secured in 
the various regions of South Africa. Interesting 
exhibit of guns and hunting equipment of English 
manufacture. 

Section 22 — Tank containing specimens of salt water 
fish from the New Jersey coast. 

Section 10 — Interesting display of Egyptian shoes, 
leather goods and relics. 

Section 36— Display of the U. S. Bureau of Forestry. 
Across the avenue, and several hundred feet to the 

west is .the German outside railway exhibit, the next 

feature being that of 



PHYSICAL CULTURE EXHIBIT 173 

ALASKA. 

The main building is of mixed classic and colonial 
design, connected on either side by native Hydah In- 
dian houses with rows of sacred totem poles as the 
prevailing decorative scheme. The lower floor of the 
main building serves as an exhibit hall. In the center 
is an immense relief map of Alaska, and the remain- 
ing space is taken up with the varied mineral, agri- 
cultural, lumber and fur exhibits. The top floor is 
used largely as a gallery for the display of pictures of 
Alaskan scenery. 

Directly south and reached by a short walk which 
passes the outside Forestry display of the Unked 
States government and Missouri's game exhibit, is seen 
the 

U. S. MAP IN GROWING CROPS. 

The map covers an area of over five acres, each 
state and territory being represented by plants indi- 
genous to it with cinder paths marking the coast and 
boundary lines. 

Adjacent and westward is the reservation and ex- 
hibits of 

ETHNOLOGY. 

This tract is devoted largely to a showing of the 
most striking tribes known to science, embracing the 
Pigmies of Africa, the Aism tribe of the Island Hok- 
kaido, near Japan, the Jehuedahes of Patagonia, the 
Seri of Tiburon Island, and the American Indians, 
including the famous Geronimo Apaches, Kiowas, Iro- 
quois and others. In addition to an Indian School 
the various tribes are represented by family groups 
engaged in their native occupations. 

Northwesterly and across the roadway is the final 
attraction of the day, that of the 

PHYSICAL CULTURE EXHIBIT. 

This exhibit occupies tue gymnasium buildings and 
athletic field of the Washington University property. 
The Gymnasium is 94 by 182 feet in dimensions and 
the athletic field is 760 feet long. In the Stadium, or 
grand stand, are seats for more than 25,000 people. The 
Olympian Games, a series of remarkable athletic feats, 
reproductions of the famous games of Ancient Greece, 
will be given on the following dates : 



174 ATHLETIC EVENTS 

Athletic Events. 

MAY. 

12 College Gymnastic Championships. 

13 All-Around College Gymnastic Championships. 

14 Interscholastic Meet for Missouri. 
21 Open Handicap Athletic Meeting. 

28 Interscholastic Meet for Schools of Louisiana 

Purchase Territory. 

JUNE. 

2 Amateur Athletic Union — Handicap Meeting. 

3 A. A. U. Junior Championships. 

4 A. A. U. Senior Championships. 
6-10 Interscholastic Baseball. 

11 Western College Championships. 

18 Turners' Mass Exhibition. 

20-25 College Baseball. 

29-30 Interscholastic Championships. 

JULY. 

1-2 International Turner Contests. 

4 A. A. U. All-Around Championships. 

4- 6 Elementary and High School Games. 

5- 7 Lacrosse. 

8- 9 Swimming and Water Polo Championships. 

11-12 World's Basket Ball Championships. 

13-14 College Basket Ball Championships. 

15-16 Interscholastic Basket Ball Championships. 

20-23 Irish Sports — Hurling and Gaelic Football. 

29 Western A. A. U. Open Athletic Club Handi- 

cap Meeting. 
29-30 National Regatta. 

30 Western A. A. U. Championships. 

AUGUST. 
1- 6 Bicycling. 
1 -13 Roque Tournament. 

1-31 Special Physical Training — Programme; Lec- 
tures, Exhibits, etc. 
15-17 Bowling on the Green. 
15-20 Y. M. C. A. Athletics. 
29 to Sept. 3, Olympic Games. 
29 Tennis. 

SEPTEMBER. 

8-10 World's Fencing Championships. 
12-17 Olympic Cricket Championships. 



ATHLETIC EVENTS 175 

19-21 National Archery Association. 
19-24 ,Golf. 

26 to Oct. I, Military Carnival. 

OCTOBER. 

14-15 A. A. U. Wrestling Championships. 

27 Turners' Mass Convention. 

28 A. A. U. Gymnastic Championships. 

29 Gymnastic Championships. 

NOVEMBER. 

7-12 Interscholastic Football. 

10-11 Relay Racing. 

12 College Football! * 

15-19 Association Football. 

17 Cross Country Championships. 

21-26 Intercollegiate Football. 

24 College Football and Local Cross Country 
Championships — East vs. West. 

Notable Exhibits. 

Collective display of photographs, charts and period- 
icals, made by the Y. M. C. A., colleges and athletic 
organizations of the United States. 

Trophy room, where the visitor may inspect number- 
less medals, cups, pennants and trophys won from time 
to time by the athletes of Yale University. 

Exhibit of gymnasium apparatus and equipment. 
Concluding with the exhibits of Physical Culture 
the day's tour is at an end, and Intramural trains may 
be taken at stations 5 or 6, which will carry the visitor 
to the Lindell avenue entrance. 



SIXTH DAY. 

"The Pike"; State Buildings. 

The sightseer's sixth and last day at the Exposi- 
tion dawns, and in many respects it will be more re- 
markable than the others. Transportation to the Lin- 
dell avenue entrance via Wabash trains from the Un- 
ion depot is suggested as the most convenient method 
of reaching the main entrance to "The Pike/' This 
avenue given over to "midway" attractions has been 
most aptly named. It is over one mile long and shaped 
like a capital E with the open end turned south toward 
the main picture of the Exposition. "The Trail," or 
west prong of the E lengthens and extends parallel 
with University Way, a central thoroughfare running 
from north to south, and upon which faces the Agri- 
culture, Horticulture and many of the Foreign build- 
ings. Entering this gayety boulevard from near the 
terminal station, there opens up before the visitor 
a vista of things truly wonderful, an aggregation of at- 
tractions which might not be seen in a lifetime if 
one were to seek them out in their native places. If 
the visitor can possibly afford it, he should not hesi- 
tate to see everything along this boulevard of wonders. 
The initial attraction on "The Pike" is the 

GERMAN TYROLEAN ALPS. 

The visitor finds here an extensive panorama, de- 
picting the picturesque charm of Alpine mountain 
scenery with realistic views of the Jungfrau, the Mat- 
terhorn and the glaciers and ravines that lie between. 
Castles, cottages, cafes and a townhall, all built in 
true Tyrolean fashion, lend additional charm to the 
view. Electrically shown pictures of the Oberammer^ 
gau Passion Play may be seen in the village church 
and ranged along the streets are numerous booths pre- 
sided over by young ladies in national dress. 

IRISH VILLAGE. 

Here the history of the Celtic race is revealed in 
the industrial exhibit of linens and laces, and the 
song of the loom and the story of poetry and music 
is interpreted in the old-time illuminated manuscripts 
and the oddly carved collection of harps, fiddles and . 
pipes. Local scenery of the most famous parts of 



178 "THE PIKE" 

Ireland and Blarney Castle are reproduced, the latter 
forming the main entrance to the village. There are 
many forms of amusements and the "Rocky Road to 
Dublin" may be traversed in one of the Irish jaunting 
cars. 

UNDER AND OVER THE SEA. 

Here the visitor may take an illusionary voyage to 
Paris in a submarine boat, through the bullseyes of 
which the traveler may view the wonders of the deep. 
After reaching Paris the visitor ascends the Eiffel 
Tower and scans the metropolis of France. From the 
Eiffel Tower an airship is entered which crosses the 
Atlantic and brings the visitor back to St. Louis. 

STREETS OF SEVILLE. 

This attraction is typically Spanish and full of life 
and dash. The "Court of Lions" of the Alhambra 
and the "Market Place of Triana" are reproduced to 
the minutest detail. There is also a Theatre of Flowers 
where high-class dances are given, a Spanish cafe, and 
the Theatre Zarzuela in which light opera on a mag- 
nificent scale is presented by the Rancoroni Opera Co., 
an organization direct from Madrid. . 

HUNTING IN THE OZARKS. 

The hunter and sportsman will find here immense 
shooting galleries and an interesting and realistic pano- 
rama of the scenery incidental to a hunting trip through 
the chain of mountains which rise in the southern 
portion of Missouri. 

HAGENBECK'S ANIMAL SHOW. 

Animals of all climes and degrees of ferocious- 
ness roam at large on a sloping panorama of mountain 
and valley, lake and waterfall, without the interposi- 
tion of bars or screens between them and the visitor. 
By a patent invisible device the seeming peril offered 
the spectator is of course only imaginary. The arena 
covers an area of 300 by 300 feet. 

There are 1,500 trained animals in the show. In 
addition to the open-air arena, where the man-eaters 
and other large animals range, there are a multitude 
of open cages containing complete collections of the 
monkey tribes and many birds. A large covered audi- 
torium and stage is provided for the performance of 
the animals. 



"THE PIKE" 179 

In the animal drive one can ride behind a tandem - 
of ostriches, zebras, fat-tailed sheep, sheep antelopes, 
or the hybrid zebrule, or mount an elephant, drome- 
dary or camel. The giant specimens are shown in a 
separate division, where will be seen monster reptiles 
weighing as high as 280 pounds, altitudinous apes, 
enormous tortoises which measure 5 and 6 feet across 
tne shells and can draw a two-horse wagon with a load, 
and giant lizards 7 feet long. The total value of the 
animals contained in the menagerie is estimated at over 
a million dollars. 

MYSTERIOUS ASIA. 

This exhibit consists of a village made up of char- 
acteristic elements from India, Ceylon, Burmah and 
Persia, with streets, bungalows, booths and bazaars. 
There is an Asiatic theatre in which various forms of 
oriental dances may be seen. Dromedaries, elephants, 
water buffalo and sacred oxen are in evidence, and 
there is also a large colony of natives engaged in rug 
making and weaving. 

TEMPLE OF MIRTH. 

This unique conception will give unlimited pleas- 
ure to the visitor. There is a $25,000 crystal maze, a 
cave of the winds, a chamber of novelties and distort- 
ing mirrors of unusual size and magnifying strength. 

MOVING PICTURES. 

Here the visitor is treated to a ride in the "Golden 
Chariot," a recent invention as applied to moving 
pictures. The subjects are well chosen and many of 
the pictures shown are those of famous characters and 
historical scenes in connection with the Louisiana Pur- 
chase. 

MOORISH PALACE. 

This building contains an historical waxwork ex- 
hibition of the manners and customs of the East 
Indian races, in which the characteristics, dress, in- 
dustries and diversions of these people are illustrated 
by models of superior workmanship. Other groups 
exhibited reflect important events in the acquisition 
of the Louisiana Territory, for instance, the discov- 
ery of the Mississippi, burial of De Soto, transfer of 
the Louisiana Territory and events connected with the 
explorations of Lewis and Clark. 



180 "THE PIKE" 

FAIR JAPAN. 

The entrance is a copy of the Temple of Niko, 
one of the most famous in the Mikado's realm. There 
are representations of the Emperor's garden at Tokio, 
a street of Asakusa, a typical royal dwellinghouse and 
a Japanese art gallery. In the village are shown feat- 
ures of Japanese life, including vaudeville entertain- 
ments, comic opera scenes, Geisha girls from Tokio, 
mystic art performances and jinrikisha riding — a novel 
means of transportation. 

ANCIENT ROME. 

A street in Ancient Rome is here reproduced with 
dwellings, temples, theatres and a great amphitheatre 
of the Augustine period where gladiatorial combats and 
hippodrome sports revive recollections of the bloody 
days of Nero. It is a realistic picture of life in the 
Eternal City, and the "Flower Parade" and "Burning 
of Rome" are features which require the services of 
several hundred men and women. Kilauea, the burn- 
ing mountain of the Hawaiian Islands, is also shown 
here. Visitors may ascend the mountain and look 
down into a cauldron of fiery lava, where rising from 
the depths of the crater is seen the "Spirit of Fire," 
a propitiary god of the Hawaiian race. 

GLASS WORKERS. 

This is an industrial exhibit of much interest. The 
weaving of glass into tablecloths, embroidery, hand- 
kerchiefs, neckties and gowns are some of the astonish- 
ing things done by the spinners employed in this unique 
industry. 

THE HEREAFTER. 

This spectacle is an enlarged production of 
''Heaven and Hades." By scenic and mechanical il- 
lusion effects, the experience of the soul, as depicted 
in Dante's "Inferno," is vividly portrayed. Spectators 
pass over the River Styx and visit the domain of His 
Infernal Majesty, after which they pass the realms 
of the redeemed and feast their eyes upon the glories 
of Paradise, as they listen to the songs -of praise 
arising from the foot of the great White Throne. 

PARIS. 

On the open streets are buildings and booths after 
the quaint designs found in "Gay Paris" and the Prov- 



"THE PIKE" 181 

inces. These streets are peopled with Parisian types 
— grisettes, students, singers and musicians. Features 
of special interest are reproductions of the celebrated 
Cafe Bruant, a meeting place of the gay bohemians, 
and the Cafe Chantant, where dancers and vaudeville 
stars give endless amusement. 

OLD ST. LOUIS. 

Here is represented the city as it existed in 1803, 
the year of the Louisiana Purchase. Stockades, forts, 
shops, schoolhouses and residences are literally repro- 
duced on a reduced scale. In the churches and larger 
structures are relics of the period. Lectures are given 
and the amusements of the time exemplified by per- 
sons in old-time costume. 

CREATION. 

Here the spectator embarks upon a boat and travels 
through the past centuries, each showing some char- 
acteristic historical scenes and personages — until he 
reaches the Garden of Eden, where he is presented to 
Adam and Eve. He is then carried farther backward 
through the spectacular phases of evolution, through 
the various geological ages to the point whence light 
emerges from chaos. The last is paradisiacal finale full 
of electricity and color. 

PALAIS DU COSTUME. 

Exhibiting the dress, house furnishings, and to a 
certain extent the manners of the various periods from 
the early history of Egypt to the present time. Some 
of the rooms portray historical scenes, and the elabo- 
rate costumes and furniture at the time of the Empire 
and Louis XIV. are shown, together with many of 
the latest creations by Worth and Felix of Paris. 

BABY INCUBATOR. 

This concession illustrates the manner by which in- 
fants are artificially "mothered" in a mechanical ap- 
paratus calculated to supply the deficiencies of birth 
and the lack of natural care. 

SIBERIAN RAILWAY. 

Taking a train of real Pullman cars, the visitor 
is carried through Russia and Siberia and given an 
insight into the landscape, architecture, life and cus- 



182 "THE PIKE" 

toms of those remote regions. A Russian town is 
finally reached in which characteristic bits of St. Pet- 
ersburg and Moscow are reproduced. There is also 
a roof garden where foods and drinks are served. 

CHINESE VILLAGE. 

Life in the "Flowery Kingdom" is here fully ex- 
emplified and native plays, with all their characteristic 
accessories, are given in the theatre by a troupe of 
native artists. The joss house, with its wealth of 
color and unique collection of gods and religious sym- 
bols is an interesting spot. 

CONSTANTINOPLE. 

Some of the most interesting sights of the Turkish 
metropolis are seen here. The "Bazaars of Stamboul" 
are faithfully copied from the original — a great trad- 
ing mart in Constantinople. There are brass beaters, 
candy makers, and a host of natives engaged in the 
vocations of their country. 

STREETS OF CAIRO. 

Realistic scenes of everyday life in the famous 
Egyptian city are here depicted. Bazaars, mosques and 
dance halls are reproduced and the strange customs of 
the people of that far-away land will prove of great 
interest to visitors. 

ESQUIMAUX VILLAGE. 

The fagade of the show exhibits beetling cliffs, fields 
of snow and glacier formations, with dogs and sleds 
and a tunnel in the snow of the cliffs to lend realism. 
Inside a tempting prospect of more icebergs and gla- 
ciers surrounding an arm of the Northern sea is offered. 
A fight between Esquimaux and savage dogs will afford 
a little warmth to the spectator. Native boats plying 
on real water, along the sides of which are ice crags 
and stalagmites and stalactites, also serve to cool the 
heated visitor. An ice colonnade, booths for the sale 
of Alaskan articles and a profusion of Arctic wonders 
are other features. 

MAGIC WHIRLPOOL. 

This attraction consists of a circular waterfall 60 
feet in diameter and 40 feet high, to . the brink of 
which the visitor is taken in a boat. After making 



"THE PIKE" 183 

two circuits of the ring over which the water pours, 
the boat is suddenly drawn beneath the falls and 
plunges in a .circular sweep to the bottom. It then 
enters a tunnel in which are spectacular effects termed 
the "Menageries," the "Demon's Kindergarten," "Bridge 
of Sighs," "Haunted Castle," "Dance of the Phos- 
phorescent Phantoms" and other alluring alliterative 
sights. 

CLIFF DWELLERS. 

The cliff ruins for which the southwestern portion 
of Colorado is famous are here reproduced. They 
include the well known Cliff Palace conceded to be 
the most remarkable and beautiful of all that remains 
of the works of the North American Ancients, and 
are occupied by a colony of Moki Indians. 

JIM KEY. 

Here may be seen an educated horse, who reads, 
writes, spells, figures, counts and changes money. 
Housed in his golden horseshoe pavilion, this wonder- 
ful equine holds daily receptions and is one of the 
real novelties of "The Pike." 

THE OLD PLANTATION. 

The visitor finds a village inhabited by plantation 
darkies. Each of the cabins has a garden patch, where 
cotton, tobacco and melons are cultivated. A cotton 
gin and press is also shown, and genuine plantation 
music and dancing are features of the show in a spe- 
cially designated theatre. 

WATER CHUTES. 

Almost every visitor to "The Pike" is familiar with 
"Shooting the Chutes." If not, they may here be 
initiated into the pleasures of this popular and ex- 
hilarating form 'of amusement. 

SCENIC RAILWAY. 

This attraction consists of a thrilling ride in com- 
modious and safely constructed cars which glide past 
scenes of almost every quarter and climate of the 
globe. 

BATTLE ABBEY. 

In this mediaeval-shaped building are shown a 
series of cycloramic pictures representing the Battles 



184 "THE PIKE" 

of Yorktown, New Orleans, Buena Vista, Gettysburg 
and Manassas, the Custer Massacre, and the Battle of 
Manila. There are also shown many war relics and 
trophies of great value and historic interest, loaned 
from the war museum of Chas. F. Gunther of Chicago. 

NAVAL EXHIBIT. 

The battles of Manila Bay and Santiago are real- 
istically portrayed, showing the battleships Oregon, 
Illinois, Iowa and Indiana, the cruisers New York, 
Boston, Charleston, Chicago, Brooklyn and Olympia, 
also a small fleet of torpedo and submarine boats. 
This spectacle is well worth seeing and was conceived 
by Capt. Paul Boynton, the noted swimmer. 

GALVESTON FLOOD. 

This wonderful picture is shown by means of the 
scenograph, the effect being obtained by a combina- 
tion of mechanical and electrical devices. The terrible 
storm with its attendant scenes is vividly represented, 
together with a view of Galveston restored, and the 
new sea wall. 

FIRE FIGHTERS. 

A most interesting exhibit, which shows the mod- 
ern development of the art of saving life and property 
from fire, is given by the firemen and trained horses 
that were the sensation of the Paris Exposition. 

NEW YORK TO THE NORTH POLE. 

The American liner "St. Louis" has been repro- 
duced and is set in a large pool of water. Passengers 
are taken to the North Pole and then escorted to a 
theatre fifty feet in the rear, connected with the ship 
by a gang-plank., where they are shown the wonders 
of the "Aurora Borealis at Home" and other remark- 
able sights. 

The visitor will now turn southward and proceed 
along "The Trail," a thoroughfare leading in that 
direction, to the 

OBSERVATION WHEEL. 

This is a novelty in amusement structures, and is 
built entirely of steel, somewhat resembling a huge 
bicycle wheel hung between two towers. The wheel 
is 340 feet high, and consists of two skeleton wheels 



"THE PIKE" 185 

28y 2 feet apart, and held together by strong steel shafts 
and ties. Between the outer rims, or crowns, of this 
gigantic wheel-frame are suspended thirty-six passen- 
ger coaches, balanced upon great steel trunnion pins. 
These coaches are larger than ordinary passenger cars 
on railroads and accommodate sixty passengers each, 
or a total of 2,160 when all are loaded. The two steel 
towers upon which the axle rests and revolves are 137 
feet high, 5 feet square at the' top, and 40 by 50 feet 
at the bottom, and rest upon solid masses of concrete 
masonry over eighteen feet deep. The axle is the larg- 
est steel forging ever made, being 33 inches in diam- 
eter, 45 1/6 feet long, weighing 56 tons. 

Parties may rent cars for an entire evening, and 
tables will be laid and meals served while the wheel is 
making its circuits. Privacy will be insured for the 
dinner parties whenever desired by curtains in the cars 
which may be drawn. Twenty-five searchlights are 
installed in the cars in order that their rays may be 
thrown at night on any part of the grounds that pas- 
sengers may wish to view in that way. The orna- 
mental lighting of the wheel will be attained by about 
8,000 incandescent lamps. 

Opposite and east is the national reservation of 

JAPAN. 

The main pavilion is a reproduction of the Shishin- 
den Palace at Tokyo, where the Emperor prants audi- 
ence to his ministers of state. Other pavilions of 
typical Japanese architecture complete this interesting 
group of seven buildings and are occupied as tea gar- 
dens, bazaars and living quarters for the commissioner 
and his suite. 

Across "The Trail" is the 

LINCOLN CABIN. 

The cabin in which President Lincoln was born 
(in Larue County, Kentucky) has been copied in every 
detail and is here shown, together with numberless 
relics and historical data. 

South, and next/ is the handsome state building 
erected by 

ILLINOIS. 

Broad verandas surround the building which is 
renaissance in character. Heroic statues of Lincoln 
and Grant flank the main entrance which lead- a 



"THE PIKE" 187 

rotunda reaching up three stories to a vaulted dome. 
The walls of the State room just behind the rotunda 
are highly decorated with mural paintings — an epical 
frieze six feet wide, telling the history of Illinois. 
There is every possible convenience for the comfort of 
the visitor and a most interesting display setting forth 
the history of the entire Northwest is exhibited by the 
Illinois Historical Society. Architects, Watson & 
Hazelton, of Chicago. 

Adjoining the Illinois building is that of 

CALIFORNIA. 

La Rabida, an old mission house in the southern 
part of the state, has been reproduced with the big 
arcaded cloister and all the characteristics of the Cali- 
fornia mission buildings. The two bell towers taper 
upward in tiers to a lantern-crowned dome; projecting 
from either side is a lower building, two stories high 
with an arcade and cloister on each floor, supplying a 
cool promenade ii feet wide. On the second floor 
above assembly hall is a roof garden where native 
plants supply shade for visitors. In the Exhibition 
room will be found an interesting display of Cali- 
fornia's various resources. Architects, Newsom & 
Newsom, of San Francisco. 

Next is the 

TEMPLE INN. 

This structure is a reproduction of the Hackensack 
Club House at Hackensack, N. J. It is of classic 
style with veranda columns treated in the Doric style 
of architecture. Refreshments in the form of lunches, 
regular dinners, or a la carte may be obtained here. 

Across the walk will be noticed the 

TEMPLE OF FRATERNITY. 

This handsome building was erected by the various 
fraternal organizations of the United States, and is 
open to all orders and associations of either male, 
female or mixed memberships. It has many of the 
characteristics of a club house and contains eighty 
rooms. The architecture is of a classic Grecian type, 
the cost exceeding $200,000. 

Crossing the boulevard the visitor will arrive at the 
state pavilion of 



188 "THE PIKE" 



GEORGIA. 

This building is a copy of the residence of the late 
Gen. John B. Gordon at Crawfordsville. It is 
familiarly known as "Sutherland," and is a charming 
example of the Georgian type of architecture. The 
furnishings are those of ante-bellum days and large 
porches surround the structure. 

Opposite is the building of 

IDAHO. 

It is a uniquely designed pavilion of the bungalow 
style, one story high with a roof of red Spanish tiling. 
The interior is like that of a Spanish hacienda with 
ten rooms opening on an interior court, or Patio. 
Idaho's natural resources are displayed in several of 
the rooms and are well worth a close inspection. 
Architect, J. Flood Walker, of Boise City. 

South of Georgia's building is that of 

VIRGINIA. 

"Monticello," the home of Thomas Jefferson, and 
designed to the minutest detail by his own hands, is 
here reproduced. It was in the original of this build- 
ing that the illustrious author of the Declaration of 
Independence and of the Louisiana Purchase, lived and 
died. The interior decorations and furnishings are 
in keeping with the exterior and, by reason of his- 
torical sentiment, are extremely interesting. Architect, 
C. Mornton Mayre, of Washington, D. C. 

West and across the roadway is the structure which 
represents 

TENNESSEE. 

Andrew Jackson's home 1 near Nashville, which is 
known as "The Hermitage," has been reproduced as 
Tennessee's club house. All of the furnishings are 
antique, including collections from Jackson's home and 
from the mansions of Tennessee's two other presidents, 
James K. Polk and Andrew Johnson. In the main 
hallway will be seen a copy of the monument erected 
in memory of explorer Lewis, and an old anvil on 
which it is said the nails were beaten to make the 
coffin in which he was buried. 

Still further south will be seen the 



"THE PIKE" 189 

BOER WAR SPECTACLE. 

This is one of the largest and most interesting 
sights of the Exposition. The Transvaal's old gov- 
ernment building at Pretoria has been reproduced in 
the distinctive architectural style of the Boers. The 
arena is planned on the lines of an open-air stage, 
before which stretches the field upon which the battles 
of Colenso and Cronje's last stand at Paardenburg are 
fought over again by the same officers and men who 
were pitiless foes on the battlefields of South Africa. 

It is not only interesting because of the two battles 
to be fought between the opposition troops, but also 
for its other representations of Boer native life. In 
the district surrounding the arena are native huts, 
peopled with natives of the Boer country, black and 
white. During the Exposition a chorus of native girls 
in Kaffir dancing costume will give such exhibitions 
as are ordinary among their people. There is also an 
immense display of the country's resources, including 
a large assortment of diamonds and gold nuggets. 

We will now return to "The Trail," proceed- 
ing to a point opposite "Sutherland." Here it is neces- 
sary to again proceed in a northerly direction to the 
exhibit of 

JERUSALEM. 

It is by far the most interesting and historic at- 
traction of the many offered to the amusement seeker 
and gives a true reproduction from real life in the 
Holy City. Among the special features are the Church 
of the Holy Sepulchre, the Temple (or Noble Sanc- 
tuary), the Golden Gate, the Via Dolorosa (this is the 
famous street which is to Christian visitors to Jerusa- 
lem the one street of supreme interest). The Ecce 
Homo Arch and the Station where Christ was said to 
have fallen, exhausted by the weight of the cross, 
Pilate's Judgment Hall, the Mount of Olives, the Gar- 
den of Gethsemane, and the Jews' Wailing Place, are 
only a few of the biblical features that are reproduced 
in all the splendors of ancient Oriental realism. 

The visitor will now pass down and out of the Ex- 
position grounds by way of the western approach to 
Art Hill, pausing for a last glimpse of the Cascades 
at the base of the Louisiana Monument, thence to the 
main entrance, where the Economizer's six-day guid- 
ance is completed. 



MEMORANDA 



JUN 16 1904 



LIBRARY OF CONGRESS 



MEMC 



011 022 850 8 k 



